Paraculture
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| Since both [[paraliterature]] and [[paracinema]] seem to be about the appreciation by intellectuals of [[low culture]] in cinema and literature, para'''culture''' straddles [[high culture]] and low culture and is a basic tenet of the nobrow concept. | Since both [[paraliterature]] and [[paracinema]] seem to be about the appreciation by intellectuals of [[low culture]] in cinema and literature, para'''culture''' straddles [[high culture]] and low culture and is a basic tenet of the nobrow concept. | ||
| - | [[Rosalind E. Krauss]] coined the term ''paraliterary'' and [[Jameson]] the term ''paraliterature''. However, they used it to denote different concepts. With ''paraliterary'', Krauss denotes postmodern literary criticism by Barthes, Derrida and other [[Twentieth-century French philosophy|French theorist]]s. With ''paraliterature'', Jameson denotes literature that became popular when postmodernism dissolved the borders between high and low literature. | + | [[Rosalind E. Krauss]] coined the term ''paraliterary'' and [[Fredric Jameson]] the term ''paraliterature''. However, they used it to denote different concepts. With ''paraliterary'', Krauss denotes postmodern literary criticism by Barthes, Derrida and other [[Twentieth-century French philosophy|French theorist]]s. With ''paraliterature'', Jameson denotes literature that became popular when postmodernism dissolved the borders between high and low literature. |
| Quoting from Krauss: | Quoting from Krauss: | ||
| - | :"If one of the tenets of modernist literature had been the creation of a work that would force reflection on the conditions of its own construction, that would insist on reading as a much more consciously critical act, then it is not surprising that the medium of a postmodernist literature should be the critical text wrought into a ''paraliterary'' form. And what is clear is that Barthes and Derrida are the writers, not the critics, that students now read." --[[Rosalind Krauss]] (1980, 40) quoted in ''[[Poetics of Postmodernism: History, Theory, Fiction]]'' (1980) - [[Linda Hutcheon]] | + | :"If one of the tenets of modernist literature had been the creation of a work that would force reflection on the conditions of its own construction, that would insist on reading as a much more consciously ''critical'' act, then it is not surprising that the medium of a ''post''modernist literature should be the critical text wrought into a ''paraliterary'' [emphasis mine] form. And what is clear is that Barthes and Derrida are the ''writers'', not the critics, that students now read." --[[Rosalind E. Krauss]] in ''[[The Originality of the Avant-Garde|The Originality of the Avant-Garde and Other Modernist Myths]]'' |
| - | Quoting from [[Jameson]]: | + | Quoting from [[Fredric Jameson]]: |
| :The [[postmodernism]]s have, in fact, been fascinated precisely by this whole “[[Degradation|degraded]]” landscape of [[schlock]] and [[kitsch]], of TV series and [[Reader's Digest]], of [[advertising]] and [[motel]]s, of the late show and the [[B movie|grade-B Hollywood film]], of so-called [[paraliterature]], with its [[airport novel|airport paperback]] categories of the [[gothic fiction|gothic]] and the [[romance novel|romance]], the popular biography, the [[crime fiction|murder mystery]], and the [[science fiction]] or [[fantasy literature|fantasy novel]]: materials they no longer simply “quote” as a [[James Joyce|Joyce]] or a [[Gustav Mahler|Mahler]] might have done, but incorporate into their very substance. --''[[Postmodernism, or, the Cultural Logic of Late Capitalism ]]'', Fredric Jameson, 1984 | :The [[postmodernism]]s have, in fact, been fascinated precisely by this whole “[[Degradation|degraded]]” landscape of [[schlock]] and [[kitsch]], of TV series and [[Reader's Digest]], of [[advertising]] and [[motel]]s, of the late show and the [[B movie|grade-B Hollywood film]], of so-called [[paraliterature]], with its [[airport novel|airport paperback]] categories of the [[gothic fiction|gothic]] and the [[romance novel|romance]], the popular biography, the [[crime fiction|murder mystery]], and the [[science fiction]] or [[fantasy literature|fantasy novel]]: materials they no longer simply “quote” as a [[James Joyce|Joyce]] or a [[Gustav Mahler|Mahler]] might have done, but incorporate into their very substance. --''[[Postmodernism, or, the Cultural Logic of Late Capitalism ]]'', Fredric Jameson, 1984 | ||
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| *[[Nobrow]] | *[[Nobrow]] | ||
| *[[Paraliterature]] | *[[Paraliterature]] | ||
| - | *[[Parcinema]] | + | *[[Paracinema]] |
| {{GFDL}} | {{GFDL}} | ||
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Paraculture is an early 21st century neologism analogous to the nobrow concept.
Since both paraliterature and paracinema seem to be about the appreciation by intellectuals of low culture in cinema and literature, paraculture straddles high culture and low culture and is a basic tenet of the nobrow concept.
Rosalind E. Krauss coined the term paraliterary and Fredric Jameson the term paraliterature. However, they used it to denote different concepts. With paraliterary, Krauss denotes postmodern literary criticism by Barthes, Derrida and other French theorists. With paraliterature, Jameson denotes literature that became popular when postmodernism dissolved the borders between high and low literature.
Quoting from Krauss:
- "If one of the tenets of modernist literature had been the creation of a work that would force reflection on the conditions of its own construction, that would insist on reading as a much more consciously critical act, then it is not surprising that the medium of a postmodernist literature should be the critical text wrought into a paraliterary [emphasis mine] form. And what is clear is that Barthes and Derrida are the writers, not the critics, that students now read." --Rosalind E. Krauss in The Originality of the Avant-Garde and Other Modernist Myths
Quoting from Fredric Jameson:
- The postmodernisms have, in fact, been fascinated precisely by this whole “degraded” landscape of schlock and kitsch, of TV series and Reader's Digest, of advertising and motels, of the late show and the grade-B Hollywood film, of so-called paraliterature, with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery, and the science fiction or fantasy novel: materials they no longer simply “quote” as a Joyce or a Mahler might have done, but incorporate into their very substance. --Postmodernism, or, the Cultural Logic of Late Capitalism , Fredric Jameson, 1984
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See also
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Paraculture" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
