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George Lipsitz, "Time Passages"

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by

Debra Goodman

on 23 September 2010

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Transcript of George Lipsitz, "Time Passages"

George Lipsitz's
Time Passages Introduction Rahsan Roland Kirk
description of performance
stage behavior
costume
quotation
song titles and lyrics
history Lipsitz's task: to "read" performances of popular culture How NOT to begin an academic paper
summary of your topic
thesis statement
meaningless platitudes
empty statements
broad and sweeping statements How should you begin
paper introductions?

If you don't know how to start your paper....

Start your paper without an introduction. Just write.

After your paper is complete, write your introduction.

Hint: you will often find your thesis at the end of your paper! Context Williams and Lipsitz
What are some differences?
Why so different? Britain America
1958 1990
conversational professional
class class, race,
gender


emerging work --> fully developed tradition
dominant culture
Williams --> extension of culture
culture as subversive? Raymond Williams
High Culture and Popular Culture --> "culture"

Lipsitz
culture --> “popular culture”

Why? Major Argument
What is the relationship between popular culture and history?
popular culture as memory
popular culture as forgetfulness Other Arguments Lipsitz argues that "Culture itself
comes to us as a commodity" (4).
What does he mean?
What are the consequences of
commodified culture? Culture as commodity Disruption of
Historical Memory Industrialization (6)
Modern Technology (6-7)
"freedom" (8-9)
leisure (10-11)

Summary (12, 3rd paragraph)
What does the "test case" of
television allow us to see? Irony
Same as Sarcasm? writing the opposite of what you actually mean

your reader is IN on the joke IRONIC QUOTATION MARKS = calling into question the term you are using

Ex. "It is only from the vantage point of Englightenment ideals of 'high culture' that something called popular culture can be seen to exist" (Lipsitz 13).

IRONY AS ARGUMENT

Ex. "Allan Bloom assures us that rock and roll music's entire meaning rests in its rhythm (as if there were only one), which he confidently explains is the 'rhythm of sexual intercourse' (as if here, too, there were only one)" (Lipsitz 17).
Full transcript