TY - BOOK AU - Shrum,Wesley Monroe TI - Fringe and Fortune: The Role of Critics in High and Popular Art SN - 9780691227634 AV - N72.S6 U1 - 700/.1/03 20 PY - 2022///] CY - Princeton, NJ : PB - Princeton University Press, KW - Art and society KW - Art criticism KW - Popular culture KW - Social classes KW - PERFORMING ARTS / Theater / History & Criticism KW - bisacsh KW - Boston Symphony KW - British Broadcasting Corporation (BBC) KW - Canadian fringes KW - Daily Telegraph KW - Festival Times KW - Festival of Israel KW - Fringe First awards KW - Fringe KW - Gilded Balloon KW - Holyrood Palace KW - Kant, Immanuel KW - Marquis of Tweeddale KW - Pleasance KW - Scottish nationalism KW - accessibility of art KW - accumulative advantage KW - aestheticians KW - amateur critics KW - amateur performers KW - attendance KW - cabaret KW - centralization KW - classical canon KW - competition KW - cultural capital KW - discourse practices KW - discovery myth KW - discriminating aesthetic KW - diversity KW - editorial bias KW - education KW - egalitarianism KW - entertainment KW - genres KW - heckling KW - hegemony theory KW - iconography of judgment KW - ideology KW - intimacy and space KW - judgment KW - medical revues KW - modality of reviews KW - modern criticism KW - opening date KW - painting KW - performance changes KW - quality claims KW - recommendations KW - reputation KW - revue KW - spectators KW - standards N1 - Frontmatter --; Contents --; Illustrations --; Tables --; Preface --; Introduction. A Critic's New Clothes --; Part One. The Critic --; Chapter One. Cultural Mediation and the Status Bargain --; Chapter Two. Critics in the Performing Arts --; Part Two. The Fringe --; Chapter Three. Development of the Festival Fringe --; Chapter Four. Festivals and the Modern Fringe --; Chapter Five. Myth of the Fringe --; Part Three. The Triangle of Mediation --; Chapter Six. Do Critics Matter? --; Chapter Seven. Critical Evaluation --; Chapter Eight. Do Performers Listen? --; Part Four. Beyond the Fringe --; Chapter Nine. Beyond Formal Evaluation --; Chapter Ten. Discourse and Hierarchy --; Epilogue --; Appendix A. Review Genres --; Appendix B. Methodological --; Appendix C. Note on the Study of Mediation and Reception --; Appendix D. Tables --; Notes --; Bibliography --; Index --; About the Author; restricted access N2 - Why does the distinction between high and popular art persist in spite of postmodernist predictions that it should vanish? Departing from the conventional view that such distinctions are class-related, Wesley Shrum concentrates instead on the way individuals form opinions about culture through the mediation of critics. He shows that it is the extent to which critics shape the reception of an art form that determines its place in the cultural hierarchy. Those who patronize "lowbrow" art--stand-up comedy, cabaret, movies, and popular music--do not heed critical opinions nearly as much as do those who patronize "highbrow" art--theater, opera, and classical music. Thus the role of critics is crucial to understanding the nature of cultural hierarchy and its persistence. Shrum supports his argument through an inquiry into the performing arts, focusing on the Edinburgh Fringe, the world's largest and most diverse art festival. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige UR - https://doi.org/10.1515/9780691227634?locatt=mode:legacy UR - https://www.degruyter.com/isbn/9780691227634 UR - https://www.degruyter.com/document/cover/isbn/9780691227634/original ER -