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Preface: The Resistance to Pop | |
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Acknowledgments | |
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"The Battle of the Brows" | |
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A History of High and Low | |
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"Highbrow," "Lowbrow," "Middlebrow" | |
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"Folk" and "Soul" | |
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Dante's Republic | |
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"General Converse": Johnson and the Long Eighteenth Century | |
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"Similitude in Dissimilitude" | |
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Keats and Mediocrity | |
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Culture and Anarchy in the UK | |
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"The Battle of the Brows" | |
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"Kitsch" | |
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The Myth of Popular Culture | |
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Pop Culture in the Spectator | |
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Poems of the People | |
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Canons and "Camp" | |
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Base and Superstructure, Soma and Psyche | |
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Pop and Postmodernism | |
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The Social Self | |
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Andy Warho | |
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"Hey, Rapunzel, Let Down Your Hair" | |
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Dialectics of Pop | |
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The Death of Kings: American Fiction from Cooper to Chandler | |
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"Paleface" and "Redskin," Cowboy and Dandy | |
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Pathfinding: Cooper and Mark Twain | |
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Labor, Leisure, Love: Melville, James, Hemingway | |
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Transatlantic: Raymond Chandler | |
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Knock on Any Door: Three Histories of Hollywood | |
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Ars Gratia Artis | |
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Benjamin, Bazin, Eisenstein | |
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Dialectics of Directing: Hawks, Welles, Scorsese | |
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Dialectics of Acting: Barrymore, Bogart, Brando | |
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Blonde on Blonde: Harlow and Monroe | |
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Hang 'Em High: Welles, Lewis, Eastwood | |
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The Blues Misreading of Gospel: A History of Rock and Roll | |
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A Scandal in Bohemia | |
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Jazz Myth, Jazz Reality | |
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Soul Synthesis | |
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Plugging In | |
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Buddy Holly and the British Invasion | |
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The Body English | |
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The World of Bob Dylan | |
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Dylan and the Critics | |
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Falling | |
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The Limits of Typology | |
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Dylan as Poet | |
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Words and Music | |
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Fractions | |
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"Slippin' and Slidin'" | |
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Dylan and Deferred Action | |
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Dylan Himself | |
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The Death of the Author | |
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The Grand Tour and the Middle Passage | |
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Hortatory | |
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The Three Icons: Sinatra, Presley, Dylan | |
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Iconography and Gender | |
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The Fedora as Phallus | |
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Elvis as Bobbysoxer | |
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"My Darling Young One" | |
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Works Cited | |
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Index | |