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Lawrence, in Lady Chatterley’s Lover (1928), reflects the post-war modern British society which condemns its individuals into a psychological trauma of ongoing conflicts between different classes and cultures. Advocating the exigency of a classless society, Lawrence shatters the hegemonic ideology of the highbrow culture which disdains working class culture as vulgar, coarse and commonplace. Reacting against the cultural displacement of working classes who are considered as masses, Lawrence indulges in revealing the authenticity and earnestness of the working class culture. Lawrence’s depiction of an uncorrupt ethical standing of the working class culture is the negation of the concept of culture, associated with high class manners and ways of life. The prevailing concern of this study, therefore, will be to analyze Lawrence’s Lady Chatterley’s Lover from the perspective of cultural studies to unravel the clash of high and low cultures in relation to the hierarchical class structure of the post-war England.

Kültür, Frankfurt Okulu tarafından elitist ve dar bir çerçeve içerisinde olumlanırken, İngiliz Kültürel Çalışmalar Okulu kavramı öznelerin tüm yapıp etmelerini içerecek şekilde çok daha geniş bir bağlamda ele alır. Özellikle bir müzikolog olarak Theodor Adorno’nun metinlerinde, caz ve Stravinsky tarzı klasik müzik gibi türler değersizleştirilirken, beste içerisinde notaların çeşitliliğine vurgu yapan atonal müzik olumlanır. Öte yandan İngiliz Kültürel Çalışmalar Okulu, üyelerinin köklerini oluşturan işçi sınıfı kültürünün itibarını iade edecek şekilde, kültürün daha sıradan formlarını önemser ve popüler kültürde direnişçi bir unsur bulur. İşçi sınıfından bir öznenin Frankfurt Okulu’nun yücelttiği yüksek kültürel formlara erişme, erişse bile bu formları çözümleme ve kültürel tüketim faaliyetleri içerisinde etkin bir şekilde kullanma şansı olmayacaktır. Bu çalışma, Eleştirel İletişim Çalışmaları içerisinde yer alan Frankfurt Okulu ve İngiliz Kültürel Çalışmaları’nın kültüre yönelik yaklaşımlarındaki bu karşıtlığı değerlendirmeyi amaçlamaktadır. Öznelerin direnişlerinin, Frankfurt Okulu’nun iddia ettiği gibi kültürün daha yüksek formları içerisinde sınırlanmasının gerekli olup olmadığını sorgulayacaktır. Karşıt bir perspektifle, yapının içerisinde var olma çabasının Kültürel Çalışmaların savunduğu gibi daha gündelik ve popüler formları aracılığıyla gerçekleştirilebilmesinin olasılığını sorgulayacaktır. Keskin bir şekilde Frankfurt Okulu veya İngiliz Kültürel Çalışmaları’ndan yana bir duruştan beslenmeyen bu çalışma, her iki yaklaşımın tezlerini öznelerin gündelik yaşam ve kültürel üretim-tüketim faaliyetleri üzerinden değerlendirmeyi hedeflemektedir., While culture is affirmed by the Frankfurt School in an elitist and narrow framework; the school of British Cultural Studies takes the concept in a much broader context, including all doings of subjects. Especially as a musicologist, in Theodor Adorno's texts, genres such as jazz and Stravinsky-style classical music are devalued; Atonal music that emphasizes the variety of notes in the composition is affirmed. The school of British Cultural Studies, on the other hand, takes care of the more mundane forms of culture and finds a resilient element in popular culture in a way that restores the dignity of the working-class culture that rooted its members. A working class subject will not have the chance to access and analyze the high cultural forms glorified by the Frankfurt School, and to use these forms effectively in cultural consumption activities. This study aims to evaluate this contrast in the approaches to culture of Frankfurt School and British Cultural Studies, which are included in Critical Communication Studies. It will question whether it is necessary to limit the resistance of the subjects within the higher forms of culture as the Frankfurt School claims. From the opposite perspective, it will question the possibility that the effort to exist within the structure can be realized through more casual and popular forms as Cultural Studies advocates. This study, which does not feed on a stance in favor of the Frankfurt School or British Cultural Studies, aims to evaluate the thesis of both approaches through the daily life and cultural production-consumption activities of the subjects.

Autor bada zjawisko rumuńskiej pograniczności kulturowej, skupiając się na jej historycznych determinantach i współczesnych przejawach. Dowodzi, że czym innym było to zjawisko w średniowiecznej Wołoszczyźnie i Mołdawii, a czym innym jest pograniczność nowoczesna datująca się od XIX wieku. Ta ostatnia przynosi ostre rozgraniczenie pomiędzy "barbarzyńskim" Orientem (utożsamianym z całym wcześniejszym dziedzictwem historycznym) a cywilizowanym Zachodem, do którego Rumunię miałaby zbliżać łacińska genealogia. Wiek XIX, to także początek konfrontacji dwóch modeli rozwojowych: imitacyjnego i rumunocentrycznego - będącego lokalną odmianą kultu narodowej wyjątkowości. Rozpoczęta wówczas debata między kosmopolitycznymi okcydentalistami i niewolnymi od ksenofobii autochtonistami trwa do dzisiaj. W przestrzeni społecznej ta debata materializuje się, między innymi, jako polemiczny dialog "południowców" (rum. sudişti) z mieszkańcami dawnego habsburskiego Siedmiogrodu i Banatu, którym bliżej jest geograficznie i duchowo do Wiednia niż do Bukaresztu. Potwierdzałoby to, pozornie, słuszność koncepcji Huntingtona o zdeterminowanej konfesyjnie granicy cywilizacyjnej przebiegającej wzdłuż linii Karpat. W rzeczywistości, obydwa obszary kulturowe wzajemnie się przenikają, przynajmniej od początku dramatycznego w skutkach eksperymentu komunistycznego. Innymi słowy, Siedmiogród stał się kulturowo bardziej "orientalny/bałkański", a dawna Wołoszczyzna i Mołdawia – bardziej „zachodnie”. Zjawisku interferencji sprzyja współczesna kultura masowa; dowodzi tego kariera muzycznego nurtu „manele” o fakturze orientalnej, który jednak w równej mierze można traktować jako "zemstę peryferii" - protest przeciwko elitaryzmowi kultury wysokiej. Rumuńska kultura wysoka w istocie jest ostentacyjnie elitarna, tworząc enklawę niedostępną nawet dla przedstawicieli klasy średniej. Paternalistyczny charakter relacji elity z resztą społeczeństwa, rozwarstwienie społeczno-kulturalne idące w parze z ekonomicznym są, zdaniem Autora, najważniejszymi z przeszkód na drodze dokończenia procesu modernizacji Rumunii. Akcesja tego kraju do UE nie zmieniła radykalnie jego statusu międzynarodowego ani nie przyniosła spektakularnego awansu społeczno-ekonomicznego. Może to zmienić, twierdzi Autor, dopiero zmiana kulturowa, w tym "oswojenie" orientalnego charakteru kultury rumuńskiej i redefiniowanie jej pogranicznego charakteru.

Despite the rootedness of the concepts of rock music and rock culture in scientific discourse, their definition remains vague and uncertain. In modern humanitarianism, a number of directions can be distinguished, within the framework of which the study of these phenomena is conducted and, accordingly, one or another understanding of them is proposed. The purpose of this article is to actualize and systematize various approaches to the understanding of rock that exist within both the scientific approach and the everyday reflection of rock culture subjects. Attempts of such classification have been repeatedly made in foreign and domestic science. With minimal generalization, rock is understood as a set of biographical narratives, or as a modern stage in the development of youth music. In the same cases, when the researcher aims to comprehend the special phenomenology of rock, the latter can be understood as an expression of high culture, which has taken the form of entertainment music, or as a set of certain stylistic phenomena, or as a focus of certain ethical qualities. Sociologists tend to consider rock as a manifestation of a sub- or counterculture. Musicologists can limit themselves to establishing a correlation between rock and blues forms of modern music. The multiplicity of approaches and conclusions leads to the need to find a common denominator that allows you to draw a common line under different positions. As such, the idea of rock culture as a socio-cultural mechanism serving as a mediator and translator of old and new values in order to reconcile them in conditions of radical transformation of culture during the transition to a post-industrial type of society can be proposed. In the process of implementing the functions provided for by the given role of rock culture, that diversity is formed, which is described within the framework of a variety of disciplinary approaches., Несмотря на укорененность в научном дискурсе понятий рок-музыка и рок-культура, их дефиниция остается размытой и неопределенной. В современной гуманитаристике можно выделить целый ряд направлений, в рамках которых ведется исследование этих феноменов и, соответственно, предлагается то или иное их понимание. Цель данной статьи заключается в актуализации и систематизации различных подходов к пониманию рока, бытующих в рамках как научного подхода, так и обыденной рефлексии субъектов рок-культуры. В зарубежной и отечественной науке неоднократно предпринимались попытки подобной классификации. При минимальном обобщении рок понимается как совокупность биографических нарративов, либо как современный этап в развитии молодежной музыки. В тех же случаях, когда исследователь ставит своей целью осмысление особой феноменологии рока, последний может пониматься как выражение высокой культуры, принявшей форму развлекательной музыки, либо как совокупность определенных стилевых феноменов, либо как средоточие определенных этических качеств. Социологам свойственно считать рок-проявлением суб- или же контркультуры. Музыковеды могут ограничиваться установлением корреляции между роком и блюзовыми формами современной музыки. Множественность подходов и выводов подводит к необходимости поиска общего знаменателя, позволяющего подвести общую черту под разными позициями. В качестве такового может быть предложена идея рок-культуры как социокультурного механизма, служащего посредником и транслятором старых и новых ценностей с целью их примирения в условиях радикальной трансформации культуры при переходе к обществу постиндустриального типа. В процессе реализации функций, предусмотренных заданной ролью рок-культуры, формируется та многоплановость, которая описана в рамках множества дисциплинарных подходов., Вестник гуманитарного образования, Выпуск 1 (25) 2022, Pages 139-147

Building on a diverse array of previous discoveries, this paper investigates the intersection of alcohol consumption, ritual performance, and political representations in early China. It traces the emergence and elaboration of a libation assemblage in coastal Neolithic mound centers to its incorporation into Bronze Age high culture, whereas it became an important medium for religious communication in Zhou bronze inscriptions and ritual texts. As the ritual process bound the living with the ancestral and supernatural realms, the deep continuities in these ritual practices and associated assemblage reveal an emerging notion of kingship in the political evolution of early China that took alcohol and alcohol-related rituals as its primary representation of political and ritual authority. This close connection between libation and power becomes the defining attribute of Bronze Age material culture in early China.

Influenced by older work on high culture, researchers often look to the social closure that institutions can provide to explain how elites avoid having their status signaling overrun by imitators. In so doing our understanding of status signaling has been biased toward long-lasting social processes and relatively stable social situations, at the expense of more dynamic circumstances and behavior. This paper uses restaurant review data from Yelp to give evidence of dynamic status signals, constructed around rarity in real-time thanks to consumers’ perception of the market. Supported by this mechanism, these status signals that are fast to develop and fast to change indicate the need to enlarge our theories to accommodate more complex systems.