Unpopular culture

Cover; Table of Contents; Introduction; What is Unpopular Culture?; Martin Lüthe & Sascha Pöhlmann; Why We Talk the Talk We Talk; On the Emptiness of Terms, the Processual Un/Popular, and Benefits of Distinction-Some Auto-Ethnographical Remarks; Martin Butler; Big Fish; On the Relative Popularity of Zane Grey and Ernest Hemingway1; Dominika Ferens; How (Not) to Make People Like You; The Anti-Popular Art of David Foster Wallace; James Dorson; Dissenting Commodities; Negotiations of (Un)popularity in Publications Critical of Post-9/11 U.S.-America; Elizabeth Kovach.

Cover; Table of Contents; Introduction; What is Unpopular Culture?; Martin Lüthe & Sascha Pöhlmann; Why We Talk the Talk We Talk; On the Emptiness of Terms, the Processual Un/Popular, and Benefits of Distinction-Some Auto-Ethnographical Remarks; Martin Butler; Big Fish; On the Relative Popularity of Zane Grey and Ernest Hemingway1; Dominika Ferens; How (Not) to Make People Like You; The Anti-Popular Art of David Foster Wallace; James Dorson; Dissenting Commodities; Negotiations of (Un)popularity in Publications Critical of Post-9/11 U.S.-America; Elizabeth Kovach.

This collection includes eighteen essays that introduce the concept of unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey and fan fiction, from Christian Rock and Country to Black Metal, from Steven Seagal to Genesis (Breyer) P-Orridge, from The Simpsons to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies