Culture as a Process in Levine's Highbrow, Lowbrow
In Highbrow, Lowbrow, Levine argues that a distinction between high and low culture that did not exist in the first half of the 19th century emerged by the turn of the century and solidified during the 20th century, and that despite a move in the last few decades toward a more ecumenical interpretation of “culture,” the distinction between high art and popular entertainment and the revering of a canon of sacred, inalterable cultural works persists. In the prologue Levine states that one of his central arguments is that concepts of cultural boundaries have changed over the period he treats. Throughout Highbrow, Lowbrow, Levine defines culture as a process rather than a fixed entity, and as a product of interactions between the past and the present.
Levine’s first chapter presents evidence that 19th century Americans of all social classes enjoyed Shakespeare as an integral part of their culture and entertainment. Shakespeare’s works were familiar enough to the populace that a variety of parodies were written and performed for large crowds that displayed their engagement with the works by applause, vegetable-throwing, interruptions, and commands to the actors. Shakespeare’s plays were performed in frontier communities and in cities, in churches and theatres and make-shift stages, attended by people of all classes. He describes the integration of Shakespeare into the Americans’ language and imagination, and explains Shakespeare’s popularity on the basis of its compatibility with 19th century Americans’ oral rhetorical style and their ability to see their own culture’s emphasis on individualism and morality reflected in Shakespeare’s characters and stories.
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... and others whom Levine treats are a different breed of reformers because they are concerned only indirectly with morality. But when Brown laments that today’s youth are intellectually wanting and have no connection with their cultural heritage, he uses bold phrases such as “junk food for the soul,” indicating that the erosion of appreciation for high culture is changing not only the common forms of entertainment but the character of today’s youth. Another parallel exists in Brown’s conception of culture and the Springhall’s reformers’ concept of morality as something that youth can access if they choose to break away from the evil influences of “mass” or “popular” culture – with the help, of course, of their moral or intellectual superiors, who long to inculcate their own (perhaps technologically or culturally outdated) ways of thinking into the next generation.
Tunstall, L. (2009). Homelessness: an overview. EBSCO Publishing Service Selection Page. Retrieved February 5, 2011, from http://web.ebscohost.com/pov/detail?hid=119&sid=d5f751fa-0d0d-4ed1-8deb-483e701af50c%40sessionmgr111&vid=3&bdata=Jmxhbmc9ZW4tY2Emc2l0ZT1wb3YtY2Fu#db=p3h&AN=28674966
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Marsden, Jean. I. The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory. Lexington, Kentucky: University of Kentucky Press, 1995.
After reviewing the literature, this author pinpointed several environmental, individual, and agent factors, which make up the epidemiologic triad, contribute to the topic of mental health in the homeless.
S. Cunningham, Lawrence, and John J. Reich. Culture & Values: A survey of Humanities. Sixth Edition. Alternate Volume. Belmont, California: Thomson Wadsworth, 2006. 34-47. Print.
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print.
With nearly 3.18 million people in the United States, there are 610.042 individuals who are homeless which calculates to about nearly one in five individuals (U.S. Census Bureau, 2014 and HUD/US, 2013). At any time situations can change that can render an individual’s homeless. There are no qualities that exempt individuals from the chances of becoming homeless. However, there are certain predispositions and characteristics that can predict the likelihood of becoming homeless. Homelessness can be contributed to a number of situations such as occupational stress, financial stress, mental health issues, substance use, gender, age, race, disabilities, incarceration, chronic illness, and family stress.
Epstein, Dan. 20th Century Pop Culture: The Early Years to 1949. Philadelphia: Chelsea House Publishers, 2001. Print.
Contrary to the popular belief that many people are homeless due to the fact that they abused alcohol or had a drug addiction, it seems those problems are more commonly derived from homelessness rather than the cause of it. This has been proven thanks to a new study from Northumbria University in the United Kingdom. Alcohol abuse and drug addiction are just some of the antisocial behaviors that are introduced with homelessness. Some of the aforementioned antisocial behaviors include drug addiction, violent behavior, alcoholism, and many different types of mental illnesses.
Than fifty years, “Sony”, founded by: Honorary Chairman Akio Morita, has been leading the industry in a number of areas. Sony has changed everyone’s life as we know it. From producing batteries to the new wireless networking system, they are number one. Have you ever wondered who produced the system, they are number one. Have you ever wondered who produced the great games you love to play or the MP3 player you got from your husband? From DVD movies, to digital cameras and camcorders, Sony is leading the world into a new frontier. Electronics, games, music, pictures and insurance are just a few of the side products of the billion-dollar company.
Llama la atención en las cartas de Valdivia el como a pesar de los desgraciados acontecimiento, termina describiéndolos como una victoria, un triunfo frente a los indios. Un episodio es donde fue destruida, a causa del fuego de los indios, la ciudad de Santiago. “Hízome [me hizo] Alonso de Monroy saber a la hora [en el acto] que había habido, con la perdida de lo que teníamos y quema de la cibdad [ciudad] y comida. Di la vuelta a la hora, y pareciéndome era menester ánimo y no dormir en las pajas, todos los cristianos, con ayuda de los anaconcillas [yanaconas], reedificariamos la cibdad [ciudad] de nuevo” (…)
Valdivia y los soldados son atacados en reiteradas ocasiones y fue necesario idear estrategias para no sucumbir ante los ataques de los indios, incluso aquellos con los que ya se comunicaban. Comenzaron a hacerse rondas y guardias de día y noche para cuidar de las casas y las siembras, las armas y herramientas con las que cultivaban las tierras. Posterior a eso y mientras iba en busca de socorro, les mataron los indios a cuatro cristianos, quedando Monroy y otro cristiano a los que tomaron por tres meses presos, donde con un cuchillo que le quitaron a un cristiano de Almagro, mataron a un cacique en medio de más de doscientos indios de los que lograron huir hasta llegar al asilo del Gobernador Vaca de Castro que venia del triunfo contra Almagro, donde hiso gran justicia por la muerte del Marqués, mi señor y capitanes, quieren le otorgaron socorro.
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
The name most associated with excellence in theatre is William Shakespeare. His plays, more than any other playwright, resonate through the ages. It may be safe to say that he has influenced more actors, directors, and playwrights than any thespian in the history of the stage. But what were his influences? During the Middle Ages theatre was dominated by morality, miracle, and mystery plays that were often staged by the church as a means to teach the illiterate masses about Christianity. It wasn’t until the early sixteenth century that Greek tragedy experienced a revival, in turn, inspiring a generation of renaissance playwrights.