000			06102nam a22011775i 4500
001			195583
003			IT-RoAPU
005			20221214232848.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			220629t20221996nju fo d z eng d
010			_a2020759461
020			_a9780691227634 _qPDF
024	7		_a10.1515/9780691227634 _2doi
035			_a(DE-B1597)9780691227634
035			_a(DE-B1597)576627
035			_a(OCoLC)1312726630
040			_aDE-B1597 _beng _cDE-B1597 _erda
050	0	0	_aN72.S6
050		4	_aN72.S6
072		7	_aPER011020 _2bisacsh
082	0	4	_a700/.1/03 _220
084			_aonline - DeGruyter
100	1		_aShrum, Wesley Monroe _eautore
245	1	0	_aFringe and Fortune : _bThe Role of Critics in High and Popular Art / _cWesley Monroe Shrum.
264		1	_aPrinceton, NJ : _bPrinceton University Press, _c[2022]
264		4	_c©1996
300			_a1 online resource (315 p.) : _b14 halftones 1 map 6 line illus. 11 tables
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tIllustrations -- _tTables -- _tPreface -- _tIntroduction. A Critic's New Clothes -- _tPart One. The Critic -- _tChapter One. Cultural Mediation and the Status Bargain -- _tChapter Two. Critics in the Performing Arts -- _tPart Two. The Fringe -- _tChapter Three. Development of the Festival Fringe -- _tChapter Four. Festivals and the Modern Fringe -- _tChapter Five. Myth of the Fringe -- _tPart Three. The Triangle of Mediation -- _tChapter Six. Do Critics Matter? -- _tChapter Seven. Critical Evaluation -- _tChapter Eight. Do Performers Listen? -- _tPart Four. Beyond the Fringe -- _tChapter Nine. Beyond Formal Evaluation -- _tChapter Ten. Discourse and Hierarchy -- _tEpilogue -- _tAppendix A. Review Genres -- _tAppendix B. Methodological -- _tAppendix C. Note on the Study of Mediation and Reception -- _tAppendix D. Tables -- _tNotes -- _tBibliography -- _tIndex -- _tAbout the Author
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aWhy 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)
650		0	_aArt and society.
650		0	_aArt criticism.
650		0	_aPopular culture.
650		0	_aSocial classes.
650		7	_aPERFORMING ARTS / Theater / History & Criticism. _2bisacsh
653			_aBoston Symphony.
653			_aBritish Broadcasting Corporation (BBC).
653			_aCanadian fringes.
653			_aDaily Telegraph.
653			_aFestival Times.
653			_aFestival of Israel.
653			_aFringe First awards.
653			_aFringe.
653			_aGilded Balloon.
653			_aHolyrood Palace.
653			_aKant, Immanuel.
653			_aMarquis of Tweeddale.
653			_aPleasance.
653			_aScottish nationalism.
653			_aaccessibility of art.
653			_aaccumulative advantage.
653			_aaestheticians.
653			_aamateur critics.
653			_aamateur performers.
653			_aattendance.
653			_acabaret.
653			_acentralization.
653			_aclassical canon.
653			_acompetition.
653			_acultural capital.
653			_adiscourse practices.
653			_adiscovery myth.
653			_adiscriminating aesthetic.
653			_adiversity.
653			_aeditorial bias.
653			_aeducation.
653			_aegalitarianism.
653			_aentertainment.
653			_agenres.
653			_aheckling.
653			_ahegemony theory.
653			_aiconography of judgment.
653			_aideology.
653			_aintimacy and space.
653			_ajudgment.
653			_amedical revues.
653			_amodality of reviews.
653			_amodern criticism.
653			_aopening date.
653			_apainting.
653			_aperformance changes.
653			_aquality claims.
653			_arecommendations.
653			_areputation.
653			_arevue.
653			_aspectators.
653			_astandards.
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780691227634?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9780691227634
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691227634/original
942			_cEB
999			_c195583 _d195583