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Philippine Popular Culture > Popular Culture and Theories > Flashcards

Popular Culture and Theories Flashcards

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Sociology 101 flashcards
1
Q

True or False: In cultural studies the concept of culture has no meaning.

A

False (the concept of culture has a range of meanings which includes both high art and everyday life)

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2
Q

advocate an interdisciplinary approach to the study of culture

A

Cultural studies

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3
Q

True or False: While cultural studies is eclectic in its use of theory, using both structuralist and more flexible approaches, it critics those that stress the overlapping, hybrid nature of cultures, seeing cultures as networks rather patchworks.

A

False (it doesn’t critic, it advocates)

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4
Q

is a combination of two German ideas: Masse and Kultur

A

Mass Culture

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5
Q

the non-aristocratic, uneducated portion of society, especially the people who today might be described as lower-middle class, working class, and poor

A

Mass

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6
Q

translates as high culture

A

Kultur

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7
Q

it refers not only to the art, music, literature, and other symbolic products that were (and are) preferred by well-educated elite of the society but also to the styles of thoughts and feelings of those who choose these products - those who are “cultured”

A

Kultur

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8
Q

refers to the symbolic products used by the “uncultured” majority

A

Mass Culture

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9
Q

True or False: The negative judgement on mass culture can be counteracted by the use of a more negative term like popular culture.

A

False (positive term)

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10
Q

refers to popular culture which is produced by the industrial techniques of mass production and marketed for profit to a mass public of consumers

A

Mass Culture

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11
Q

It is a commercial culture in which mass produced for a mass market.

A

Mass Culture

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12
Q

It’s growth means there is less room for any culture which cannot make money, and which cannot be mass produced for a mass market.

A

Mass Culture

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13
Q

refers to the disruptive consequences of industrialization and urbanization

A

Mass Culture and Mass Society

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14
Q

True or False: In mass culture and mass society, the rise of large-scale and mechanized industrial production, and the growth of massive and densely populated cities, are argued to have destabilized and then eroded the societies and values which previously held together.

A

True

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15
Q

create atomization

A

Industrialization and urbanization

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16
Q

consists of people who can only relate to each other like atoms in a physical or chemical compound

A

Mass society

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17
Q

consists of atomized people, people who lack any meaningful or morally coherent relationships with each other

A

Mass society

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18
Q

True or False: In a mass society, the individual is left more and more to his or her own devices, has fewer and fewer communities or institutions in which to find identity or values by which to live, and has less and less idea of the morally appropriate ways to live. … if people do not have a secure sense of moral value, then a spurious and ineffectual order will emerge instead, and people will turn to surrogate and fake moralities.

A

True

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19
Q

Authentic culture

A

Authentic culture

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20
Q

In popular culture originates from the people, who are the people being referred?

A

the masses

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21
Q

True or False: In popular culture originates from the people, raw materials themselves are commercially provided by the people.

A

True

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22
Q

True or False: In popular culture originates from the people, raw materials are not commercial items in turn confirming ‘people for people’ approach.

A

False (raw materials are always commercial items in turn, rebutting ‘people for people’ approach)

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23
Q

True or False: In Popular Culture Originates from the People, in an example, ‘dance’ the raw material is essentially individualistic, it is produced by many.

A

False (it is essentially not individualistic)

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24
Q

cultural hegemony

A

Antonio Gramsci

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25
Q

dominant groups in society seek to win the consent of subordinate groups in society

A

Cultural Hegemony

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26
Q

Resistance and incorporation

A

Popular Culture Struggles between Subordinate and Dominant Group

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27
Q

Subordinate/dominant/negotiated

A

Popular Culture Struggles between Subordinate and Dominant Group

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28
Q

used by Antonio Gramsci to refer to a condition or process in which a dominant class (in alliance with other classes or class fractions) does not merely rule a society but leads it through the exercise of ‘intellectual and moral leadership’

A

Hegemony

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29
Q

involves a specific kind of consensus (general agreement): a social group seeks to present its own particular interests as the general interests of the society as a whole

A

Hegemony

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30
Q

the concept is used to suggest a society in which, despite oppression and exploitation, there is a high degree of consensus, a large measure of social stability

A

Hegemony

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31
Q

the concept used to suggest a society in which subordinate groups and classes appear to actively support and subscribe to values, ideals, objectives, cultural and political meanings, which bind them to, and ‘incorporate’ them into, the prevailing structures of power

A

Hegemony

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32
Q

True or False: Although hegemony implies a soceity with a high degree of consensus, it should not be understood to refer to a society in which all conflict has been removed.

A

True

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33
Q

the concept is meant to suggest a society in which conflict is contained and chenneled into ideologically safe harbors

A

Hegemony

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34
Q

is maintained (and must be continually maintained: it is an ongoing process) by dominant groups and classes ‘negotiating’ with and making concessions to subordinate groups and classes

A

Hegemony

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35
Q

For the student of popular culture perhaps the most important consequences of the new sensibility that ‘the distinction between “high” and “low” culture seems less and less meaningful’.

A

Postmodernism

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36
Q

Does not recognize the distinction between high and popular culture.

A

Postmodernism

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37
Q

can be said to have been at least partly born out of a generational refusal of the categorical certainties of high modernism

A

Postmodernism

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38
Q

True or False: The insistence on an absolute distinction between high and popular culture came to be regarded as the ‘in-hip’ assumption of an older generation.

A

False (‘un-hip’)

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39
Q

One sign of this collapse was the merging of pop art and pop music.

A

Postmodernism

40
Q

A classical approach to popular culture insist that to understand and explain a text or practice it must always be situated in its historical moment of production, analyzed in terms of the historical conditions that produced it.

A

Marxism

41
Q

argues that each significant period in history is constructed around a particular ‘mode of production’: that is, the way in which a society is organized (i.e. slave, feaudal, capitalist) to produce the necessaries of life - food, shelter, etc.

A

Karl Marx

42
Q

True or False: In Marxism, first mode of production produces specific ways of obtaining the necessaries of life.

A

True

43
Q

True or False: In Marxism, the second mode of production produces specific soocial relationships between workers and those who control the mode of production.

A

True

44
Q

True or False: In Marxism, the third mode of production produces specific social institutions (including cultural ones).

A

True

45
Q

True or False: In Marxism, at the heart of the analysis is the claim that how a society produces its means of existence (its particular ‘mode of production’) ultimately determines the political social and cultural shape of that society and its possible future development.

A

True

46
Q

As Marx explains, it conditions the social, political and intellectual life process in general.

A

The mode of production of material life

47
Q

claim that, ‘The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force in society, is at the same time its ruling intellectual force’.

A

Karl Marx and Frederick Engels

48
Q

the dominant class, on the basis of its ownership of and control over the means of material production, is virtually guaranteed to have control over the means of intellectual production

A

Karl Marx and Frederick Engels

49
Q

refer to the raw materials, the tools, the technology, the workers and their skills

A

forces of production by Karl Marx and Frederick Engels

50
Q

refer to the class relations of those engaged in production

A

relations of production by Karl Marx and Frederick Engels

51
Q

True or False: In Karl Marx and Frederick Engel’s claim, each mode of production, besides being different, say, in terms of its basis is agrarian or industrial production, is also different in that it produces particular relations of production: slave mode, feudal mode, and capitalist mode.

A

True

52
Q

produces lord/peasant relations

A

feudal mode

53
Q

produces master/slave relations

A

slave mode

54
Q

produces bourgeois/proletariat relations

A

capitalist mode

55
Q

True or False: By Karl Marx and Frederick Engels claim in terms of the relations of production, it is in this sense that one’s class position is determined by one’s relationship to the mode of production.

A

True

56
Q

makes another distinction that has proved essential to the development of structuralism

A

Ferdinand de Saussure

57
Q

This is the division of language into langue and parole.

A

Structuralism

58
Q

refers to the system of language, the rules and conventions that organize it

A

Langue

59
Q

Roland Barthes points out, ‘it is essentially a collective contract which one must accept in its entirely if one wishies to communicate’.

A

language as a social institution

60
Q

refers to the individual utterance, the individual use of language

A

Parole

61
Q

True or False: Sassure in Structuralism compares language to the game of football.

A

False (game of chess)

62
Q

Here we can distinguish between the rules of the game and an actual game of chess.

A

comparison of language to the game of chess

63
Q

True or False: In structuralism, in comparison of language to the game of chess, without the body of rules there can be actual game.

A

False (without the body of rules there could be no actual game, but it is only in an actual game that these rules are made manifest)

64
Q

True or False: In structuralism, there is langue and parole, but no structure and performance.

A

False (there is langue and parole, structure and performance)

65
Q

True or False: In structuralism, it is the homogeneity of the structure that makes the heterogeneity of the performance possible.

A

True

66
Q

takes two basic ideas from Saussure’s work

A

Structuralism

67
Q

a concern with the underlying relations of texts and practices, the ‘grammar’ that makes meaning possible

A

First basic idea from Saussure’s work in structuralism

68
Q

the view that meaning is always the result of the interplay of relationsgips of selection and combination made possible by the underlying structure

A

Second basic idea from Saussure’s work in structuralism

69
Q

True or False: Based on the basic ideas from Saussure’s work, texts and practices are studies as analogous to language.

A

True

70
Q

outlines a semiological model for reading popular culture

A

Roland Barthes

71
Q

He takes Saussure’s schema of signifier/signified = sign and adds to it a second level of signification.

A

Roland Barthes

72
Q

the signifier ‘dog’ produces the signified ‘dog’: a four-legged canine creature

A

Saussure’s schema

73
Q

argues that Saussure’s schema of the signifier ‘dog’ indicates only primary signification

A

True

74
Q

He claims that it is at the level of secondary signification or connotation that myth is produced for consumption.

A

Roland Barthes

75
Q

True or False: In Roland Barthes’ claim of level of secondary signification or myth, he means ideology is understood as a body of ideas only, which by actively promoting the values and interests of dominant groups in society, defend the prevailing structures of power.

A

False (he means ideology is understood as a body of ideas and practices)

76
Q

reject the idea of an underlying structure upon which meaning can rest secure and guaranteed

A

Post-structuralists

77
Q

is always in the process in post-structuralism

A

Meaning

78
Q

is only ever a momentary stop in a continuing flow of interpretations following interpretations in post-structuralism

A

Meaning

79
Q

posited language as consisting of the relationship between the signifier, signified and the sign

A

Saussure

80
Q

suggest that the situatuon is more complex than this: signifiers do not produce signifieds, they produce more signifiers.

A

theorists of post- structuralism

81
Q

is a very unstable thing in post-structuralism

A

Meaning

82
Q

insists that a text is ‘a multi dimensional space in which a variety of writings, none of them original, blend and clash in post-structuralism

A

Barthes

83
Q

True or False: In post-structuralism, the text is a tissue of quotations drawn from the innumerable centers of culture.

A

True

84
Q

True or False: In post-structuralism, only a listener can bring a temporary unity to a text.

A

False (reader)

85
Q

An image containing references to pop music culrure might be seen by a young audience as an index of freedom and heterogeneity, while to an older audience it might signal manipulation and homogeneity is an example of?

A

Post-structuralism

86
Q

True or False: In the example of post-structuralism, codes are not mobilized and it does not largely depend on the triple context of the location of the text, the historical moment and the cultural formation of the reader.

A

False (codes are mobilized and largely depend on the triple context of the location of the text)

87
Q

is always more than a body of academic texts and practices

A

Feminism

88
Q

a political movement concerned with women’s oppression and the ways and means to empower women - as ‘finding a voice’.

A

Feminism

89
Q

has brought into being many things, but one that some feminists have already disowned is men’s studies

A

Feminism

90
Q

focus is on what we calls dominant masculinity (the myth of heterosexual masculinity as something essential and self-evident which is tought, masterful, self-possessed, knowing, always in control, etx.

A

Anthony Easthope

91
Q

He begins from the proposition that masculinity is a cultural construct; that is, it is not ‘natural’, ‘normal’ or ‘universal’.

A

Anthony Easthope

92
Q

He argues that dominant masculinity operates as a gender norm, and that it is against this norm that the many other different types of ‘lived masculinities’ (including gay masculinities) are invited to measure themselves.

A

Anthony Easthope

93
Q

as Paul Burston and Colin Richardson explain, ‘provides a discpline for exploring the relationships between lesbians, gay men and the culture which surrounds and (for the large part) continues to seek to exclude us’

A

Queer theory

94
Q

seeks to locate Queerness in places that had previously been thought of as strictly for the straights

A

Queer Theory

95
Q

is no more “about” lesbians and gay men than women’s studies is “about” women

A

Queer Theory

96
Q

is to attack … the very “naturalness” of gender and, by extension, the fictions supporting compulsory heterosexuality

A

part of the project of Queer

Philippine Popular Culture (9 decks)

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