Chapter 60 Part Two Results Chapter Fourteen Art 6

6 Meanwhile, outside the intelligentsia, mass culture continued to exist.In the cities and the world outside the industrial zone, cultural changes are minimal. The songs, festivals, costumes, patterns, colors, and customs of the popular Art Deco in the 1840s all retain the main style of 1789.Industry and growing cities began to destroy it all.No one can live in a factory town in the same way that he lives in a village, and the entire complex system of culture must collapse with the disintegration of the social structure that condenses and stereotypes it.People sing when they are plowing, but they cannot sing when they are not plowing; if they can still sing, it is no longer a folk song, but another song.Immigrant nostalgia enables old customs and folk songs to survive in exile cities, and even enhances their charm, because they alleviate the pain of displacement.But outside the cities and factories, the Dual Revolution merely changed, or rather destroyed, the remnants of old country life, especially in some parts of Ireland and England, where the old way of life was no longer possible. the point.

In fact, even the transformation of industrial society was far from completely destroying the ancient culture before the 1840s; not only that, in Western Europe, handicrafts and manufacturing had coexisted for centuries, and then developed a semi The cultural model of industry.In the countryside, miners and weavers expressed their desires and grievances in traditional folk songs. The Industrial Revolution only increased their numbers and sharpened their sensibility.The factory does not need labor songs, but the various activities that accompany economic development need songs, and they are developed in the old fashion.The anchor-lifting song sung by the sailors on the galleon belongs to the works of the golden age of "industrial" folk songs in the first half of the 19th century, similar to the songs of the whalers in Greenland, the songs of coal mine owners and miners' wives, and the songs of textile workers. Complaint song.In pre-industrial towns, artisan workers and home workers developed a strong culture of literacy, where Protestant sects and Jacobin radicalism combined or competed with each other to stimulate self-education.Representatives of the two factions are Bunyan, Calvin, Paine, and Owen.Libraries, chapels, colleges, and gardens or aviaries where artisan "fantasists" breed flowers, dogs, and pigeons, are full of such skilled self-fighting groups; Famous for his republican spirit, but also for the canaries. ("There is also an old house standing there, weathering all weathers," wrote Francis Horner in 1879, "and in secluded parts of the town there used to be gardens—often belonging to florist Yes. By a strangely long and bright window, there is a hand weaver working behind the loom, and he can see the flowers outside the window and his fabric at the same time-he combines labor and pleasure... Yet factories replaced his wear-resistant loom, and brick buildings devoured his garden.") But the adaptation of old folk songs to industrialized life failed (except in America) to withstand the onslaught of trains and the Iron Age, so None survived; and the ancient arts were no more able to withstand the development of factories and machines than the old linen weavers of Dunfermline. After 1840 they withered.

So far, nothing has replaced ancient cultures in large quantities.In England, for example, the new mode of purely industrialized life did not fully emerge until the 1870s and 1880s.The period from the crisis to the total replacement of the old traditional ways of life is thus in many respects the darkest period of this miserable century of the working poor.Neither large cities nor small communities have developed the mass cultural models of our time. It is true that large cities, especially capitals, already had important institutions designed to meet the cultural needs of the poor or "little people", although often—typically enough—also for the aristocratic classes.However, the contribution of these institutions to the evolution of popular art has often been overlooked, as were the institutions that were included in the mainstream of eighteenth-century development.The Volkswagen Theater on the outskirts of Vienna, dialect theater in Italian cities, popular opera (as opposed to court opera), comedy improvisation, touring burlesque, boxing, racing, or Spanish bullfighting (in its original form chivalrous, the main matador on horseback; the innovative rules for killing bulls on foot are generally attributed to a carpenter in Ronda in the 18th century.) and other popular performance forms, are all products of the 18th century; illustrated single-sided prints and small The appearance of this story book may be even earlier.The truly new forms of metropolitan entertainment in the big cities are the by-products of the inn or tavern, which increasingly become the source of worldly solace for the working poor in the process of their social disintegration, the last citadel of custom and traditional rites, and Preserved and strengthened by artisan guilds, trade unions and ritualized 'freemasonry'. 'Music halls' and dance halls were born out of taverns, but before 1848 they did not prosper in large numbers, even in England, although they began to appear in the 1830s.Other new forms of entertainment in big cities originated in fairs, often accompanied by performances by buskers.In the big cities these forms became permanently fixed, and even in the 1840s jugglers, theatre, peddlers, pickpockets and street cart vendors still intermingled in certain avenues, contributing to the romantic intellectuals of Paris. Molecules provide inspiration as well as entertainment for the masses.

Mass taste also dictated industrial goods produced in response to poor markets, with little personalization in form or packaging, such as jars commemorating the passage of reform bills in the British Parliament; bridges, or magnificent three-masted ships sailing the Atlantic; popular prints of revolutionary fervor, patriotism, or notorious crimes; and little furniture and clothing that the urban poor could afford.But, by and large, cities, especially newly industrialized cities, are barren and dire places, whose few amenities—open spaces and vacations—are gradually replaced by unsightly buildings, poisonous The smog, attenuated by never-ending forced labor, is occasionally reinforced, with luck, by the Sabbath-keeping habits of the middle classes.Only the new gas lamps that can be seen here and there on the main street and the goods displayed in the window display a colorful color for the night of the modern town.However, the modern big city and the popular way of life of the modern city did not come into being until the second half of the nineteenth century.The first is that destruction prevails, which is only slightly restrained even in the best of circumstances.