The Consumption of Adoption and Adoptees in American Middlebrow Culture

Biography ◽  
2019 ◽  
Vol 42 (3) ◽  
pp. 669-692
Author(s):  
Kimberly McKee
Keyword(s):  
Author(s):  
Jonathan Rose

The Chinese had a word for it—wanbao quanshu. It’s a bibliographic term, which literally means “complete compendia of myriad treasures,” but an alternate translation might be “middlebrow.” These were encyclopedic works that distilled and summarized sophisticated science, history, and politics in cheap, accessible, illustrated guidebooks. Their audience (as a 1933 survey of Shanghai bookstalls confirmed) was neither the educated elite nor the impoverished peasantry, but an intermediate semi-educated class of shop-clerks, apprentices, housewives, workers, and prostitutes. Very few readers had thoroughly mastered the Chinese vocabulary of 50,000 characters, but many more, without much difficulty, had learned 2,000 basic terms, enough to read popular newspapers and wanbao quanshu. The latter commonly ran the subtitle wanshi buqiuren (“myriad matters you won’t need to ask”), which underscored their mission: self-education. They had titles like Riyong wanshi baoku choushi bixu, which could be rendered “Treasury of all daily things necessary for social relations” or (more idiomatically) “How to win friends and influence people.” Wanbao quanshu were the contemporaneous counterparts of H. G. Wells’s The Outline of History and Will Durant’s The Story of Philosophy. They flourished in Republican-era China, the same time frame that Joan Shelley Rubin identified as the heyday of American middlebrow culture. In societies where a wide gap opens up between elite and pulp literature, where literacy is growing but access to higher education is still restricted, where modernizing forces arouse both optimism and anxiety, middlebrow bridges those divides and makes sense of rapid change. Those conditions certainly prevailed in China, the United States, and Great Britain in the first half of the twentieth century, but not only then. Middlebrow has a very long history: wanbao quanshu can be traced back to the seventeenth century. And how about eighteenth-century Europe? Two generations ago historians studied the High Enlightenment of Voltaire and Rousseau, one generation ago Robert Darnton discovered a Low Enlightenment of Grub-Street hacks and smut-mongers, and now a team of young scholars at Radboud University in the Netherlands are creating the database MEDIATE: Middlebrow Enlightenment: Disseminating Ideas, Authors and Texts in Europe (1665–1820).


Author(s):  
Fabio Guidali

Angelo Rizzoli was one of Italy’s leading publishers in the interwar period and beyond, thanks to his business intuition and daring investments in the popular periodicals sector. In the 1920s and 1930s he published a galaxy of illustrated magazines aimed at the urban middle classes, that prove paradigmatic of a new form of Italian weeklies. The article posits that Rizzoli’s rotocalchi, based on entertaining content and photojournalism, weremediators par excellence in three areas. First, in publishing middlebrow fiction. Second, in translating short stories from linguistic and cultural milieus with a deliberate selection of specific literary genres, settings, and character types — a branding that emerges from investigating the weeklies Novella and Lei. Third, in the creation of a platform for interchange between literature, photography and cinema, mainly in Cinema Illustrazione Presenta. Notwithstanding the obstacles put in their way by the Fascist regime and the censorship system, Rizzoli’s illustrated magazines introduced and spread models of female conduct that did not coincide with those proposed by the Fascists, while adapting them to common Italian cultural values and exploiting them for commercial purposes. As a typical expression of middlebrow culture based on leisure, respectability, and consumption, they repurposed messages from other media and foreign contexts, facilitating the penetration of modern behaviour patterns in Italy.


2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Despoina Gkogkou

This article introduces one of the first popular literary miscellanies published in Greece after the First World War, Μπουκέτο [Bouquet] (1924‒46). The first of its kind in the country, it led the way to a new type of periodical with subject matter ranging from serialized novels to short jokes, along with a modern layout featuring fine and plentiful illustrations. Drawing on Pierre Bourdieu’s theory of the cultural field, the article starts by showing that the magazine was a manifestation of middlebrow culture, combining commercial values with legitimate cultural aspirations and an eagerness to educate the masses. After situating the magazine in the cultural field of Greek periodical publishing and specifying its audience, the article focuses on its supplements, which followed the magazine’s publishing success. These were spin-off publications associated with the magazine, such as Βιβλιοθήκη του Μπουκέτου [Bouquet’s Library] (1924‒36), a series of translated classic novels, the annual Ημερολόγιον του Μπουκέτου [Bouquet’s Calendar] (1926‒33), and pamphlets or pull-outs sewn into the central pages of the magazine. The analysis draws attention to the characteristics, as well as the threads connecting them to the parent publication. The article traces the reasons that triggered the magazine’s subsidiary products and, by extension, the purposes they fulfilled, as well as the way they were used by the magazine throughout its lifespan in an attempt to create a name for itself and engage its readership.


2015 ◽  
Vol 12 (1) ◽  
pp. 25-44
Author(s):  
Hollie Price

The husband and wife acting duo, Michael Denison and Dulcie Gray, achieved popular acclaim in British cinema during the 1940s, Gray in They Were Sisters (1945) and Denison in My Brother Jonathan (1948). Following the success of My Brother Jonathan (in which Gray also appeared), the couple's star status was soon cemented by roles together on screen, including notably The Glass Mountain (1949), The Franchise Affair (1951), Angels One Five (1952) and There Was a Young Lady (1953). As a result of these roles in popular films and images of the couple in extra-cinematic culture, a picture of cosy, domestic consensus became irrevocably associated with Denison and Gray's status as British film stars, much to Denison's later chagrin.Rachael Low's History of the British Film suggests that British actors and actresses have not been deemed worthy of the glamorous connotations of star status because they are ‘somewhat homely in comparison with legendary international figures’ (1971: 263). In this period, the Denisons’ star image was characterised by the ‘homely’: by a vision of their domestic life together as at once aspirational, ordinary and English. However, this article argues that their stardom can be resituated as a postwar reformulation of modes linking British stars with ideas surrounding domestic modernity in the middlebrow culture of the interwar years. Therefore, Low's label of homeliness can be redefined as a key characteristic of the distinction, promotion and reception of popular British stardom in the immediate postwar period.


Author(s):  
Nathan Platte

This introduction lays the groundwork for the book’s larger argument, namely, that study of film music’s collaborative production process changes our appreciation of the music itself. Although this book joins a larger conversation about filmmakers who exert creative control over the music in their films, this is the first book-length study to consider a producer’s relation to film music. Therefore, the introduction contextualizes the work of producers more generally and the four major phases of Selznick’s career. In particular, this chapter shows that Selznick’s commitment to film music is inseparable from his broader interest in the woman’s film, the prestige film, and middlebrow culture.


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