This book tells the story of the history of popular culture in Europe since 1800, providing a framework which challenges traditional associations that have formulated popular culture firmly in relation to the post-1945 period and the economic power of the USA. Focusing on key themes associated with modernity — secularization, industrialization, social cohesion and control, globalization and technological change this synthesis of research across a very wide field fills a gap that has long been felt by students and educators working in the field of popular culture. While it is organized as a history of cultural forms, it can also be used across a wide range of social science and humanities programmes, including media and cultural studies, literary studies, sociology and European studies. Covering the subject with a broad number of themes, this book discusses popular culture through visual culture and performance, games, music, film, television, and video games. Popular Culture in Europe since 1800 will be of interest to anyone looking for an engaged but concise overview of how book production and reading practices, visual cultures, music, performance and sports and games developed across Europe in the modern period.

A sweeping reassessment of our longing for the past, from the rise of “retro” to the rhetoric of Brexit and Trump. Nostalgia has a bad reputation. Its critics dismiss it as mere sentimentality or, worse, a dangerous yearning for an imagined age of purity. And nostalgia is routinely blamed for trivializing the past and obscuring its ugly sides. In Yesterday, Tobias Becker offers a more nuanced and sympathetic view. Surveying the successive waves of nostalgia that swept the United States and Europe after the Second World War, he shows that longing for the past is more complex and sometimes more beneficial than it seems. The current meaning of “nostalgia” is surprisingly recent: until the 1960s, it usually just meant homesickness, in keeping with the original Greek word. Linking popular culture to postwar politics in the United States, Great Britain, and Germany, Becker explains the shift in meaning. He also responds to arguments against nostalgia, showing its critics as often shortsighted in their own ways as they defend an idea of progress no less naïve than the wistfulness they denounce. All too often, nostalgia itself is criticized, as if its merit did not depend on which specific past one longs for. Taking its title from one of the most popular songs of all time, and grounded in extensive research, Yesterday offers a rigorous and entertaining perspective on divisive issues in culture and politics. Whether we are revisiting, reviving, reliving, reenacting, or regressing, and whether these activities find expression in politics, music, fashion, or family history, nostalgia is inevitable. It is also powerful, not only serving to define the past but also orienting us toward the future we will create.

This book tells the story of the history of popular culture in Europe since 1800, providing a framework which challenges traditional associations that have formulated popular culture firmly in relation to the post-1945 period and the economic power of the USA. Focusing on key themes associated with modernity — secularization, industrialization, social cohesion and control, globalization and technological change this synthesis of research across a very wide field fills a gap that has long been felt by students and educators working in the field of popular culture. While it is organized as a history of cultural forms, it can also be used across a wide range of social science and humanities programmes, including media and cultural studies, literary studies, sociology and European studies. Covering the subject with a broad number of themes, this book discusses popular culture through visual culture and performance, games, music, film, television, and video games. Popular Culture in Europe since 1800 will be of interest to anyone looking for an engaged but concise overview of how book production and reading practices, visual cultures, music, performance and sports and games developed across Europe in the modern period.

In the decades before the Second World War, popular musical theatre was one of the most influential forms of entertainment. This is the first book to reconstruct early popular musical theatre as a transnational and highly cosmopolitan industry that included everything from revues and operettas to dance halls and cabaret. Bringing together contributors from Britain and Germany, this collection moves beyond national theatre histories to study Anglo-German relations at a period of intense hostility and rivalry. Chapters frame the entertainment zones of London and Berlin against the wider trading routes of cultural transfer, where empire and transatlantic song and dance produced, perhaps for the first time, a genuinely international culture. Exploring adaptations and translations of works under the influence of political propaganda, this collection will be of interest both to musical theatre enthusiasts and to those interested in the wider history of modernism.

Gesundheitsversorgung ist ein komplexer, nichtlinearer Prozess, der durch zahlreiche Ordnungsparameter (rechtlich, organisatorisch, oekonomisch, informatisch, religioes, kulturell) und durch verschiedene Akteure (AErzte, Patienten, Krankenkassen, Kliniken ...) bestimmt wird. Traditionelle Managementmethoden und Hierarchien wirken dieser systemischen Sichtweise oft entgegen. Ein modernes, umfassendes Gesundheitssystem setzt auf Kooperation und Kommunikation der Beteiligten. An die Stelle von mechanistischen Sichtweisen und starren Prozessorganisationen muss ein systemisches Ganzes treten, das viele Wechselwirkungen und Ruckkopplungsschleifen zulasst und synergetisch zu nutzen weiss. Das vorliegende Buch begleitet diesen Paradigmenwechsel mit Beitragen, in denen Praxisbeispiele und Konzepte fur eine systemische Netzwerkorganisation im Gesundheitswesen vorgestellt werden. Dabei wird auch immer wieder das sich verandernde Arzt-Patienten-Verhaltnis von einer hierarchischen Beziehung hin zu einer dialogorientierten Kommunikation mit ins Blickfeld genommen.

In the decades before the Second World War, popular musical theatre was one of the most influential forms of entertainment. This is the first book to reconstruct early popular musical theatre as a transnational and highly cosmopolitan industry that included everything from revues and operettas to dance halls and cabaret. Bringing together contributors from Britain and Germany, this collection moves beyond national theatre histories to study Anglo-German relations at a period of intense hostility and rivalry. Chapters frame the entertainment zones of London and Berlin against the wider trading routes of cultural transfer, where empire and transatlantic song and dance produced, perhaps for the first time, a genuinely international culture. Exploring adaptations and translations of works under the influence of political propaganda, this collection will be of interest both to musical theatre enthusiasts and to those interested in the wider history of modernism.

AAAI geht der Frage nach, warum der Mensch heute bei aller postulierten Freiheit so offensichtlich unfrei ist, warum die Liebe bei aller postulierten Romantik so offensichtlich lieblos ist und warum unser politisches Ideal bei allem wohlmeinenden Pathos so offensichtliches Unheil anrichtet. In einer Art Tatortbegehung zeigt das Buch anhand von familienbiografischen Ereignissen dreier Generationen die politische und gesellschaftliche Entwicklung der vergangenen Jahrzehnte auf und fuhrt vor Augen, was immerwahrende Dilemmata und unveranderbare Natur des Menschen sind, aber auch wo die Zufluchtsorte kunftiger Generationen in einer dramatisch veranderten Welt liegen. Diese Haltung gibt zugleich den Grundton des Buches vor: Der Mensch bleibt, was er ist. Seine Ausstattung und sein Werkzeugkoffer sind nicht besser geworden. Genauso wenig wie die Probleme, in die er hineinrasselt und die Zwange, denen er sich ausgesetzt sieht. Dennoch kann er von den Erfahrungen seiner Vater lernen - solange es Familie noch gibt.

Studienarbeit aus dem Jahr 2009 im Fachbereich Medien / Kommunikation - Public Relations, Werbung, Marketing, Social Media, Note: 1,3, Hochschule der Medien Stuttgart, Veranstaltung: Wissenschaftliches Arbeiten, Sprache: Deutsch, Abstract: Die Werbung ist eines der wichtigsten Instrumente der Wirtschaft um Kunden uber Produkte zu informieren und sie nach Moglichkeit zum Kauf des jeweiligen Produktes zu bewegen. Standig werden neue Werbestrategien entwickelt und getestet. Jedem sind schon einmal bekannte Marken oder Firmen in Filmen aufgefallen und manch einer hat auch schon daruber nachgedacht ob eine solche Werbung beabsichtigt wurde und ob diese Werbeform nicht mit dem Gesetz in Konflikt gerat. Product Placement ist mittlerweile eine haufige Werbeform in Spielfilmen und sogar TV-Serien. Diese Form ist mindestens genauso umstritten wie erfolgreich. Diese Tatsache macht das Thema interessant und hat auch mich dazu bewegt mir genau dies naher anzusehen. Das Filmbeispiel I, Robot" habe ich gewahlt, weil mir in diesem Film das erste Mal eine Produktplatzierung aufgefallen war. Ziel dieser Arbeit ist, die Werbewirksamkeit von Product Placement anhand des Beispielfilms I, Robot" herauszuarbeiten. Dazu werden zunachst die Grundlagen und allgemeinen rechtlichen Rahmenbedingungen erlautert. Danach wird der Beispielfilm analysiert und die einzelnen Placements aufgefuhrt. In dieser Arbeit liegt der Schwerpunkt auf dem I, Robot" Placement von Audi.

Modern popular culture came to the world from the stage. Even before film and radio had established themselves, popular theater had developed into a commercial and boundary-crossing entertainment industry that reached a mass audience. Tobias Becker compares the theater landscapes of London and Berlin and points out the cultural exchanges that took place between these metropolises during the long turn of the century (1880 1930)."