Essay The Role of the Audiences in Culture

The set used for Vernon God Little was highly symbolic and simplistic; when we walked into the theatre we could visually see that there were flowers, cards and memorable items attached on the audiences seats above our heads, which already created a sombre atmosphere around the theatre.

There are many of us that can identify with the idea of “counter-culture.” Through all generations in all walks of life, there existed or will exist a trend that someone will negatively criticize, whether it be cool clothes or the popularity of the fidget spinner. In her work, The Cult You’re in, Kalle Lasn establishes her own definition of the term pop culture by comparing some simple everyday activities to those of cults, manifesting themselves into our routine through the similar manipulative rhetoric.

In the first chapter of The Rhetorical Power of Pop Culture by Deanna Sellnow, the author defines popular culture and explains the importance of studying the subject. Sellnow begins with a short explanation of ethics to convey that the influence popular culture has is not always used ethically. Secondly, Sellnow compares the different contexts of culture, elitist and diversity, to explain what popular culture is not. Popular culture is compiled of everyday things that influence people through subtle messages such as what is appropriate and inappropriate, good and bad, and so on.

In the chapter “What is Popular Culture and Why Study It?” from the novel The Rhetorical Power of Popular Culture, author Deanna Sellnow deliberates on the influential supremacy of popular culture in our current society. Sellnow wrote this passage to inform those affected by pop culture on a daily basis. Everyday individuals in first world countries are somehow impacted by pop culture. Pop culture’s influential power can often times mold our outlook on the world around us. It is important to realize when pop culture is trying to reevaluate your ethical beliefs so you can have a say in whether or not you want your morals to be altered.

I wanted to give a brief introduction to the language of symbols by giving my opinion on some very common examples. Correlation does not equal causation but the pattern of association can often lead us to a more discerning perspective when examining usage of symbolism. Symbolism is used purposefully and with intent in many cases as we will see but it is also frequently used unintentionally as well. I chose a few simple examples for this video to get us started on the topic. Some of these images may be disturbing to you so now may be a good time to pause this

From a structural functionalist perspective, participants of this subculture deviate from existing social norms. This is not per say a negative quality a they bring awareness to what they believe in and promote peace and equality

The question I have posed is a very contentious one, which has been debated by scholars and graduates for some time, with many arguing that popular culture and mass media are ways of brainwashing the 'masses' into the ways of a dominant social order. Others believe that popular culture is a type of 'folk' culture which encompasses the idea of an 'alternative' culture incorporating minority groups, perhaps with subversive values sometimes challenging the dominant control groups, as was scene with the advent of the 'Indie' music scene in the mid nineteen nineties. In this dissertation I aim to uncover whether aforementioned 'subversive values' can be uncovered in popular culture or whether popular culture is really a means by which the masses can direct dominant controlling forces.

Well Mrs. Sawyer, when considering Dr. Titchner’s work, I would have to say it is the lack of individuality that has created structuralism’s downfall. You see, Dr. Titchner focuses on reducing the experiences of the mind to several thousand sensory images. These images are then applied to every individual within the universe. This application de-individualizes the mindful process of experience, and fails to acknowledge that no two experiences are alike; nor are they the same for

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

The core idea behind structuralism is that everything exists within a larger system; that all things can be fit into categories within a structure. Michel Foucault took a new look at this concept in his “The Order of Things, Preface”, using the ideas of Jorge Luis Borges, bringing in the notion of otherness, of what “insinuated itself into the empty space, the interstitial blanks separating all these entities from one another” (Foucault 1). Things can be grouped together because of “that and, by that in, by that on whose solidity provides proof of the possibility of juxtaposition” (Foucault 2). If a common ground exists where unlikely entities can meet, then they can be grouped together. However Foucault suggests that this possible meeting does not exist “except in the immaterial sound of the voice pronouncing their enumeration, or on the page describing it” (Foucault 2).

Adorno and Horkheimer suggest ideology as the reason dominant culture industries are able to sustain themselves. They argue that “The culture industry tends to make itself the embodiment of authoritative pronouncements, and thus the irrefutable prophet of the prevailing order” (Adorno and Horkheimer 17). Thus, we can think of these “authoritative pronouncements” as methods Hollywood employs to sustain its dominance. By proclaiming a certain set of ideas which convinces the public that no other authority or ideas exist otherwise, Hollywood mystifies and obfuscates all other traces of thought. It normalizes its manipulation of the public by ostracizing other values and ideas outside the predominant notions of standardization and mass production.

It is in this mythical system that signs derive their meaning (Griffin, 2012). Through these systems which society has created, signs are interpreted and evaluated by the shared meanings of society (Griffin, 2012).These mythical systems are not meant to hide the original meanings of messages but rather

Length: 1-2 pages (double-spaced with proper header, a descriptive title, and a Works Cited entry)

Popular culture is generally believed to be comprised of a variety of elements. For example, popular culture covers the most contemporary and instant aspects of our lives. These aspects can often show the characteristics of rapid change, especially in today’s highly technological and informative world in which, people are highly influenced by the universal media. Certain standards of behaviour and common beliefs are reflected in pop culture. Because of its cohesion, pop culture both influences and reflects people’s daily life. Moreover, brands can reach iconic pop status. However, these aspects are not constant and may change rapidly. (Abbott and Sapsford, 1987).

A leading Structuralist Ferdinand de Saussure ascertains in “Course in General Linguistics” that “in language there are only differences” (70). These differences make up the world, and comparing them allows readers to have a deeper understanding of life. However, binaries must play off each other within a context in order to have meaning. Gregory Castle offers the goal of Structuralism: “Functional Structuralism is primarily concerned with language as it is manifested in social contexts” (186). The social context is the construct that illuminates