Artertainment is more than a novel aesthetic term reflecting the fact that art and entertainment have cross-pollinated each other throughout history. It is a creative strategy that purposely intertwines highbrow and lowbrow aesthetics in the name of reaching the connoisseurs and the masses. The Art of Artertainment sets out to unravel the jumble of aesthetic faultlines and prejudices found wherever we find artistic crossovers—which is to say, everywhere. Revisionist, iconoclastic, and artertaining in its own right, it provides a new framework for the analysis of American nobrow culture from the Colonial times to the digitally turbocharged present.

This volume proposes that the work of community colleges has expanded beyond equity into providing a true barrier-free learning environment for students, one that is attuned to justice. The essays included here serve as evidence and examples of the productive ways in which educators may bring theory and practice to bear on each other, which in turn may allow community college faculty, staff, and administrators to reexamine the role of a community college as a space for justice. Topics explored with this volume include liberatory educational practices in and out of the classroom, transforming classrooms into the site of collaboration and contestation, and unique visions of how to promote opportunity for marginalized students. Ultimately, the goal of this edited volume is to explore and encourage community college educators to understand the integral role they play in bringing transformative justice to their students and their communities.

This book examines nobrow, a cultural formation that intertwines art and entertainment into an identifiable creative force. In our eclectic and culturally turbocharged world, the binary of highbrow vs. lowbrow is incapable of doing justice to the complexity and artistry of cultural production. Until now, the historical power, aesthetic complexity, and social significance of nobrow “artertainment” have escaped analysis. This book rectifies this oversight. Smart, funny, and iconoclastic, it scrutinizes the many faces of nobrow, throwing surprising light on the hazards and rewards of traffic between high entertainment and genre art.

How do people turn out the way they do? How do they “arrive” at themselves and attain an identity? How are our identities affected by our birth order, our hair color, how tall or short we are, our intelligence, our occupation, our race, our religion, our nationality, the socio-economic level of our parents (or our being raised in a single-parent family), where we are born and where we grow up, the language we learn, the way we use language, our fashion tastes, our gender, our education, our psychological makeup, chance experiences we have, the people we marry (if we marry), and countless other factors? There are numerous matters to consider when dealing with identity, which, as Nigel Denis, the author of 'Cards of Identity', reminds us, “is the answer to everything.” 'Searching for a Self' takes a deep dive into the question of identity formation from various perspectives; it is written in a reader-friendly accessible style and makes use of insightful quotations from seminal thinkers who have dealt with the topic. Split into two parts, the first “Theories of Identity,” offers evaluations of identity from semioticians, psychologists, sociologists and Marxists while the second, “Applications,” offers case studies on topics such as Russian identity, Donald Trump’s identity, fashion and identity, LGBTQIA+ identity, Orthodox Jewish identity, elite university education and identity, tattoos and identity, travel and identity, and politics and identity. Covering a wide array of subject areas, this book will be a valuable resource for undergraduate students taking courses in identity, sociology, psychology, cultural studies, and other related fields.

A penetrating look at modern American politics and the partisan culture that feeds off its turmoil.

Swirski begins with a series of groundbreaking questions about the nature of popular fiction, vindicating it as an artform that expresses and reflects the aesthetic and social values of its readers. He follows his insightful introduction to the socio-aesthetics of genre literature with a synthesis of the century long debate on the merits of popular fiction and a study of genre informed by analytic aesthetics and game theory. Swirski then turns to three "nobrow" novels that have been largely ignored by critics. Examining the aesthetics of "artertainment" in Karel Capek's War with the Newts, Raymond Chandler's Playback, and Stanislaw Lem's Chain of Chance, crossover tours de force, From Lowbrow to Nobrow throws new light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics.

The Oxford Handbook of Music and the Middlebrow takes a fresh look at the history of nineteenth- and twentieth-century music. Offering an alternative to the traditional focus on either highbrow modernism on the one hand or lowbrow popular music on the other, its novel view centers on the wealth of previously overlooked products and practices that bridged the space between these cultural extremes. While seminal attempts to recover middlebrow culture came from literary critics and historians, middlebrow studies is now a burgeoning field within musicology. As the first essay collection on this topic, this handbook has two aims: first, it seeks to explore the middlebrow as a historical phenomenon, excavating the kinds of critical writings, marketing practices, and compositional styles with which it was associated. By reanimating a range of musical practices and products--from symphonic concerts to Broadway musicals, opera criticism to rock journalism, and modern jazz to pop-rock--the contributors investigate how artists, critics, and audiences breached the divide from both above and below. In the process, the handbook chapters push the boundaries of middlebrow studies and demonstrate the category's relevance outside of the mid-twentieth-century Anglophone world by delving into the nineteenth century, interrogating the present day, and looking to Germany, Russia, and beyond. The handbook's second aim is to complicate the disciplinary divisions that have flowed from the entrenched oppositions between high and low genres. Breaking new ground by bringing together scholars of classical and popular music, these chapters trace common middlebrow themes across traditional disciplinary boundaries. Across this broad vista, contributors account for the kinds of syntheses, overlaps, and juxtapositions that made the cultural middle such a richly textured and endlessly contested terrain.