Cultural Culture And Globalization

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The end of the cold war marked the beginning of a ‘cultural turn’ in the globalized world. The worldwide dissemination of the values and attitudes of the West in general and the United States of America in particular has been the focus of attention for not only academicians but also for ordinary people from across the world. There have been intense debates over the impact of globalization and the consequent transformations in the realm of culture from a number of conflicting standpoints. The idea of cultural imperialism has been particularly influential in the understanding of the profound transformations that are taking place in the sphere of culture. Regardless of the difference among these contesting perspectives on the characterization…show more content…
Certainly, the content of cultural commodities is immeasurable and ‘cultural’ in nature. Here, cultural means that the use value of a cultural commodity is satisfying some of the mental, psychological needs of a user in one way or another from a culturally determined standpoint. Speaking from the opposite, a cultural commodity has no ‘physical’ value apart from its ability to gratify given cultural tastes of a consumer. In broad terms, cultural industries are characterised by the production, creation, transmission, dissemination, registration, protection, participation and mass consumption of cultural and creative types of intangible and immeasurable contents, which are available in the market as exchangeable commodities or services. Globalisation represents not only the competitive distribution but also the co-operative sharing of cultural and creative…show more content…
On the contrary, Adorno (1991) criticises the mass culture merely as a product of what he understands as ‘culture industry’. While seeing mass culture as retrogressive and making passive effects on the spectators, Adorno underestimates the positive aspects of popular culture and its potentialities for democratising the culture itself. He fails to see the democratic transformation of culture through the medium of mass culture. Therefore, postmodernists have come up with the argument that Adorno holds an elitist appraisal of pure artistic modernism against a culture of the people. Adorno’s perspective is regrettably one-sided in only seeing the alienation and ideology in the cultural contents produced by culture industry. Adorno’s (1991) critical theory considers the existence of an alienated and alienating culture industry as a product of the capitalist commodity fetishism. Capitalism contains the forces of fragmentation and reification, which take form through industrially produced cultural commodities and lessens the possibilities for integral freedom. Obviously, Adorno was staunch proponent of modernist high culture vis-à-vis the consumerist, populist mass

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