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'''''Kermit Culture''''', subtitled ''Criticial Perspectives on Jim Henson's Muppets'', is a 323-page academic anthology examining [[Jim Henson|Jim Henson's]] Muppets, and primarily ''[[The Muppet Show]]'' family of characters, from different perspectives and critical approaches. The book follows various other anthologies focusing on pop culture, such as ''[[Looney Tunes|Reading the Rabbit]]'' and multiple ''[[Buffy the Vampire Slayer|Buffy]]'' texts. However, ''Kermit Culture'' marks the first sizable representation of "Muppet Studies" outside of [[:Category:Muppet Fandom|fandom]]. |
'''''Kermit Culture''''', subtitled ''Criticial Perspectives on Jim Henson's Muppets'', is a 323-page academic anthology examining [[Jim Henson|Jim Henson's]] Muppets, and primarily ''[[The Muppet Show]]'' family of characters, from different perspectives and critical approaches. The book follows various other anthologies focusing on pop culture, such as ''[[Looney Tunes|Reading the Rabbit]]'' and multiple ''[[Buffy the Vampire Slayer|Buffy]]'' texts. However, ''Kermit Culture'' marks the first sizable representation of "Muppet Studies" outside of [[:Category:Muppet Fandom|fandom]]. |
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| − | The individual essays, contributed by more than a dozen different authors, are grouped into three larger sections. "Audience Participation" contains essays which look at the role of the audience (and critics such as [[Statler and Waldorf]]) within the Muppet world, as well as how audiences react to or are reflected in the puppet characters. "Adaptation and Performance" looks at aspects of puppetry, the Muppets as actors (particularly in ''[[The Muppet Christmas Carol]]'' and ''[[The Muppets' Wizard of Oz]]''), [[William Shakespeare]], and [[Gonzo]] as performance artiste. The final section, "Theories and Strategies," focuses on ways of interpreting and critiquing the Muppets, venturing into such realms as gender studies (via [[Miss Piggy]]), morality (via [[Kermit the Frog]]), national identity (and in particular the British influence and financial backing, and economics, to name a few. |
+ | The individual essays, contributed by more than a dozen different authors, are grouped into three larger sections. "Audience Participation" contains essays which look at the role of the audience (and critics such as [[Statler and Waldorf]]) within the Muppet world, as well as how audiences react to or are reflected in the puppet characters. "Adaptation and Performance" looks at aspects of puppetry, the Muppets as actors (particularly in ''[[The Muppet Christmas Carol]]'' and ''[[The Muppets' Wizard of Oz]]''), [[William Shakespeare]], and [[Gonzo]] as performance artiste. The final section, "Theories and Strategies," focuses on ways of interpreting and critiquing the Muppets, venturing into such realms as gender studies (via [[Miss Piggy]]), morality (via [[Kermit the Frog]]), national identity (and in particular the British influence and financial backing), and economics, to name a few. |
The book is slated to be released in softcover as part of McFarland's spring/summer 2009 offerings. |
The book is slated to be released in softcover as part of McFarland's spring/summer 2009 offerings. |
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==Publisher's description== |
==Publisher's description== |
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| − | "By the end of its five-year run on television, The Muppet Show had transformed its motley cast of characters from mere fistfuls of felt to true multi-media celebrities. Sophisticated and highly individuated, each of the Muppets nonetheless embodied a conventional character type from classic television comedy. Kermit, the manager of the show, functioned as straight man to the majority of the show’s jokes. Miss Piggy, the resident diva, evolved from first season chorus girl to full-fledged megastar. The Costello to Kermit’s Abbot, Fozzie peddled his vaudevillian shtick to a tough audience, but his genuine sweetness made him lovable even when his jokes were terrible. Intended for both scholarly and general audiences, these essays represent the work and ideas of a global community of scholars and Muppet enthusiasts, providing a unique perspective on just how Kermit and the rest of the frogs, dogs, bears, and chickens became cultural icons with influences reaching far beyond the world of 1970s television comedy." |
+ | "By the end of its five-year run on television, ''The Muppet Show'' had transformed its motley cast of characters from mere fistfuls of felt to true multi-media celebrities. Sophisticated and highly individuated, each of the Muppets nonetheless embodied a conventional character type from classic television comedy. Kermit, the manager of the show, functioned as straight man to the majority of the show’s jokes. Miss Piggy, the resident diva, evolved from first season chorus girl to full-fledged megastar. The Costello to Kermit’s Abbot, [[Fozzie]] peddled his vaudevillian shtick to a tough audience, but his genuine sweetness made him lovable even when his jokes were terrible. Intended for both scholarly and general audiences, these essays represent the work and ideas of a global community of scholars and Muppet enthusiasts, providing a unique perspective on just how Kermit and the rest of the frogs, dogs, bears, and chickens became cultural icons with influences reaching far beyond the world of 1970s television comedy." |
==External links== |
==External links== |
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Revision as of 02:34, 24 February 2009
| This article is about an upcoming project, product, or production. |
| Written by | Jennifer Garlen and Anissa M. Graham, eds |
| Published | 2009 |
| Publisher | McFarland |
| ISBN | 9780786442591 |
Kermit Culture, subtitled Criticial Perspectives on Jim Henson's Muppets, is a 323-page academic anthology examining Jim Henson's Muppets, and primarily The Muppet Show family of characters, from different perspectives and critical approaches. The book follows various other anthologies focusing on pop culture, such as Reading the Rabbit and multiple Buffy texts. However, Kermit Culture marks the first sizable representation of "Muppet Studies" outside of fandom.
The individual essays, contributed by more than a dozen different authors, are grouped into three larger sections. "Audience Participation" contains essays which look at the role of the audience (and critics such as Statler and Waldorf) within the Muppet world, as well as how audiences react to or are reflected in the puppet characters. "Adaptation and Performance" looks at aspects of puppetry, the Muppets as actors (particularly in The Muppet Christmas Carol and The Muppets' Wizard of Oz), William Shakespeare, and Gonzo as performance artiste. The final section, "Theories and Strategies," focuses on ways of interpreting and critiquing the Muppets, venturing into such realms as gender studies (via Miss Piggy), morality (via Kermit the Frog), national identity (and in particular the British influence and financial backing), and economics, to name a few.
The book is slated to be released in softcover as part of McFarland's spring/summer 2009 offerings.
Publisher's description
"By the end of its five-year run on television, The Muppet Show had transformed its motley cast of characters from mere fistfuls of felt to true multi-media celebrities. Sophisticated and highly individuated, each of the Muppets nonetheless embodied a conventional character type from classic television comedy. Kermit, the manager of the show, functioned as straight man to the majority of the show’s jokes. Miss Piggy, the resident diva, evolved from first season chorus girl to full-fledged megastar. The Costello to Kermit’s Abbot, Fozzie peddled his vaudevillian shtick to a tough audience, but his genuine sweetness made him lovable even when his jokes were terrible. Intended for both scholarly and general audiences, these essays represent the work and ideas of a global community of scholars and Muppet enthusiasts, providing a unique perspective on just how Kermit and the rest of the frogs, dogs, bears, and chickens became cultural icons with influences reaching far beyond the world of 1970s television comedy."