LEADER 02477nam 22005774a 450 001 9910452174603321 005 20200520144314.0 010 $a0-8166-9380-3 035 $a(CKB)1000000000346817 035 $a(EBL)310585 035 $a(OCoLC)560187394 035 $a(SSID)ssj0000283865 035 $a(PQKBManifestationID)11215051 035 $a(PQKBTitleCode)TC0000283865 035 $a(PQKBWorkID)10250389 035 $a(PQKB)10764192 035 $a(MiAaPQ)EBC310585 035 $a(MdBmJHUP)muse39820 035 $a(Au-PeEL)EBL310585 035 $a(CaPaEBR)ebr10151280 035 $a(CaONFJC)MIL522734 035 $a(EXLCZ)991000000000346817 100 $a20020213d2002 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSacred revolutions$b[electronic resource] $eDurkheim and the Colle?ge de Sociologie /$fMiche?le H. Richman 210 $aMinneapolis $cUniversity of Minnesota Press$dc2002 215 $a1 online resource (260 p.) 225 1 $aContradictions ;$vv. 14 300 $aDescription based upon print version of record. 311 $a0-8166-3974-4 311 $a0-8166-3973-6 320 $aIncludes bibliographical references and index. 327 $aIntroduction: toward a sacred sociology -- Durkheim's sociological revolution -- Savages in the Sorbonne -- Politics and the sacred in the Colle?ge de Sociologie -- Sacrifice in art and eroticism. 330 $aIt seems improbable, but the most radical cultural iconoclasts of the interwar years-Georges Bataille, Roger Caillois, and Michel Leiris-responded to the rise of fascism by taking refuge in a ""sacred sociology"". Miche?le H. Richman examines this seemingly paradoxical development in this book which traces the overall implications for French social thought of the ""ethnographic detour"" that began with Durkheim's interest in Australian aboriginal religion-implications that reach back to the Revolution of 1789 and forward to the student protests of May 1968. 410 0$aContradictions (Minneapolis, Minn.) ;$v14. 606 $aSociology$zFrance$xHistory 608 $aElectronic books. 615 0$aSociology$xHistory. 676 $a301/.0944 700 $aRichman$b Miche?le H$0905395 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910452174603321 996 $aSacred revolutions$92025030 997 $aUNINA LEADER 04450nam 2200853 a 450 001 9910814206103321 005 20250322110038.0 010 $a9780814743119 010 $a0814743110 010 $a9780814743706 010 $a0814743706 010 $a9781435600355 010 $a1435600355 024 7 $a10.18574/nyu/9780814743706 035 $a(CKB)1000000000476543 035 $a(SSID)ssj0000275066 035 $a(PQKBManifestationID)11954781 035 $a(PQKBTitleCode)TC0000275066 035 $a(PQKBWorkID)10350335 035 $a(PQKB)10904787 035 $a(OCoLC)173511444 035 $a(MdBmJHUP)muse10724 035 $a(Au-PeEL)EBL865572 035 $a(CaPaEBR)ebr10172680 035 $a(OCoLC)779828127 035 $a(DE-B1597)547654 035 $a(DE-B1597)9780814743706 035 $a(MiAaPQ)EBC865572 035 $a(Perlego)720743 035 $a(ODN)ODN0001190713 035 $a(EXLCZ)991000000000476543 100 $a20060717d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe wow climax $etracing the emotional impact of popular culture /$fHenry Jenkins 205 $a1st ed. 210 $aNew York $cNew York University Press$dc2007 210 1$aNew York, NY : $cNew York University Press, $d[2006] 210 4$dİ2006 215 $avi, 285 p. $cill 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a0-8147-4283-1 311 08$a0-8147-4282-3 320 $aIncludes bibliographical references (p. 247-272) and index. 327 $aGames, the new lively art -- Monstrous beauty and mutant aesthetics : rethinking Matthew Barney's relation to the horror genre -- Death-defying heroes -- Never trust a snake : WWF wrestling as masculine melodrama -- Exploiting feminism in Stephanie Rothman's Terminal Island -- "You don't say that in English!" : the scandal of Lupe Velez -- "Going bonkers!" : children, play, and Pee-Wee -- "Complete freedom of movement" : video games as gendered play spaces -- "Her suffering aristocratic majesty" : the sentimental value of Lassie. 330 $aHenry Jenkins at Authors@Google (video)Vaudevillians used the term "the wow climax" to refer to the emotional highpoint of their acts-a final moment of peak spectacle following a gradual building of audience's emotions. Viewed by most critics as vulgar and sensationalistic, the vaudeville aesthetic was celebrated by other writers for its vitality, its liveliness, and its playfulness.The Wow Climax follows in the path of this more laudatory tradition, drawing out the range of emotions in popular culture and mapping what we might call an aesthetic of immediacy. It pulls together a spirited range of work from Henry Jenkins, one of our most astute media scholars, that spans different media (film, television, literature, comics, games), genres (slapstick, melodrama, horror, exploitation cinema), and emotional reactions (shock, laughter, sentimentality). Whether highlighting the sentimentality at the heart of the Lassie franchise, examining the emotional experiences created by horror filmmakers like Wes Craven and David Cronenberg and avant garde artist Matthew Barney, or discussing the emerging aesthetics of video games, these essays get to the heart of what gives popular culture its emotional impact. 606 $aPopular culture$zUnited States 606 $aPopular culture$zUnited States$xPsychological aspects 606 $aEmotions$xSocial aspects$zUnited States 606 $aAffect (Psychology)$zUnited States 606 $aAesthetics$xSocial aspects$zUnited States 606 $aMass media$xSocial aspects$zUnited States 606 $aMass media$zUnited States$xPsychological aspects 607 $aUnited States$xSocial conditions$y1933-1945 607 $aUnited States$xSocial conditions$y1945- 615 0$aPopular culture 615 0$aPopular culture$xPsychological aspects. 615 0$aEmotions$xSocial aspects 615 0$aAffect (Psychology) 615 0$aAesthetics$xSocial aspects 615 0$aMass media$xSocial aspects 615 0$aMass media$xPsychological aspects. 676 $a302.230973 700 $aJenkins$b Henry$f1958-$0473298 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910814206103321 996 $aThe wow climax$93960924 997 $aUNINA