Is NYPD Blue a less valid form of artistic expression than a Shakespearean drama? Who is to judge and by what standards? In this new edition of Herbert Gans's brilliantly conceived and clearly argued landmark work, he builds on his critique of the universality of high cultural standards. While conceding that popular and high culture have converged to some extent over the twenty-five years since he wrote the book, Gans holds that the choices of typical Ivy League graduates, not to mention Ph.D.'s in literature, are still very different from those of high school graduates, as are the movie houses, television channels, museums, and other cultural institutions they frequent. This new edition benefits greatly from Gans's discussion of the ''politicization'' of culture over the last quarter-century. Popular Culture and High Culture is a must read for anyone interested in the vicissitudes of taste in American society.

"This work will become one of the most noted and discussed scholarly works in our field and will further establish its author as one of modern China's foremost cultural critics."--Howard Goldblatt, editor of Worlds Apart

This book brings together the proceedings of the inaugural conference of the University of Arizona Center for American Culture and Ideas (CACI), an institution dedicated to studying and promoting the arts, particularly investigating the relationship between the high arts and culture in America. The conference was titled “The Future of (High) Culture in America,” and was held in March 2014. Presenters and respondents included practicing artists, critics, educators and academics, curators, and art purveyors, all at the top of their game. Papers were presented, followed by comments from a panel of respondents and an audience question and answer period. The conference title can be read as both a statement and a question: Is there high culture in America, and if so, is it in jeopardy? This suggests an opportunity to consider what “culture” or “high culture” means. This book explores a range of subjects, including music, dance, the visual arts (particularly photography), and more general philosophical and psychological matters. As such, it offers a fascinating and provocative kaleidoscope of the position of arts and culture in America.

Le site de l'éditeur indique : "Throughout history, humans have always been fascinated by drugs and altered states. Despite the risk of addiction, many have used drugs as technologies to induce moments of meaning-making transcendence. This book traces the quest for transcendence and meaning through drugs in the modern West. Starting with the Romantic fascination with opium, it goes on to chronicle the discovery of anesthetics, psychiatric and religious interest in hashish, the bewitching power of mescaline and hallucinogenic fungi, as well as the more recent uses of LSD. It fills a major gap in our understanding of contemporary alternative and in the study of countercultures and popular culture. Today we are seeing increased social and scientific attention to both the positive and the negative effects of psychoactive drugs, particularly following the legalization of marijuana for medicinal and/or recreational use in some US states, as well as court cases involving the sacramental use of drugs. This fascinating and wide-ranging exploration of the controversial relationship between drugs and spirituality could not be more timely."

This monograph investigates the promotion and consumption of high musical culture among leisured society in Victorian London, by focusing on the activities of the concert manager John Ella and his Musical Union. This monograph investigates the promotion and consumption of high musical culture among leisured society in Victorian London, by focusing on the activities of the concert manager John Ella and his Musical Union [1845-81], an eminent, long-lived institution for chamber music, much fêted across Europe in its day. It combines a biography of Ella with a social-economic history of the Musical Union, its players, repertoire and audiences, and sets them against the gradually shifting contexts for London concerts, chamber music and cultural life. Ella's extraordinary life story, which began in provincial, artisan-class obscurity and ended in the upper echelons of London society, shapes thenarrative. Such themes as entrepreneurship, concert management, taste shaping, music appreciation and elite social networks are discussed throughout, as is the curious interplay between the desire to 'sacralize' chamber music, especially Beethoven's, on the one hand, and the need to survive amid the increasing commercial imperatives of London concert life on the other. CHRISTINA BASHFORD is Assistant Professor of Musicology at the University of Illinois at Urbana-Champaign.

Newspapers are filled with stories about poorly educated children, ineffective teachers, and cash-strapped school districts. In this greatly expanded treatment of a topic he first dealt with in Rediscovering the Lost Tools of Learning, Douglas Wilson proposes an alternative to government-operated school by advocating a return to classical Christian education with its discipline, hard work, and learning geared to child development stages. As an educator, Wilson is well-equipped to diagnose the cause of America's deteriorating school system and to propose remedies for those committed to their children's best interests in education. He maintains that education is essentially religious because it deals with the basic questions about life that require spiritual answers-reading and writing are simply the tools. Offering a review of classical education and the history of this movement, Wilson also reflects on his own involvement in the process of creating educational institutions that embrace that style of learning. He details elements needed in a useful curriculum, including a list of literary classics. Readers will see that classical education offers the best opportunity for academic achievement, character growth, and spiritual education, and that such quality cannot be duplicated in a religiously-neutral environment.

Few are prepared for managing across cultures, and the costs of cultural blind spots can spin out of control—from lawsuits to lost opportunities. Forged in the fire of clashing cultures and living on four continents, Dr. Zweifel developed a fool-proof methodology for managing successfully across borders. And post-9/11, the Arab Spring and the BRICS emerging markets, e-commerce and social networks have made this updated and expanded edition of Culture Clash indispensible. Culture Clash 2 is not another Kiss, Bow or Shake Hands. Such protocol-laden works on whether to bring wine to a dinner in Singapore or how many times to kiss in France might have their uses, but non-compliance with local etiquette has rarely been a deal-breaker. What has derailed international business is the inability of managers to see the world from their counterpart's point of view, read between the lines, and decode the mind-set of the other side.