Humanities
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I’m trying to study for my History course and I need some help to understand this question.

Kasson argues that Coney Island was a harbinger of the new mass urban culture.  But he does not suggest that the new patterns of behavior of Coney Island overthrew existing social expectations.  He instead concludes that the amusement park was “a safety valve, a mechanism of social release and control that ultimately protected existing society.  Its fantasy led not to a new apprehension of social possibilities but toward passive acceptance of the cycle of production and consumption” (109).  What does he mean? Be as specific as possible.

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Fnb, which poknita irere these pte clearly I fluat itis F*"" !a orltrre hod oo., I a setf- h drw', fueasq l disinte: tsrs took hg ! the work proved itti.t, f,oUa ipto s, hi?rd Fntrue lfrals bers ho ftd iimhlist tt" Itit "high" and "middle" culture, between members of l-m*clib and commercial tastemakers, made the hegemony *dlht adture possible. A series of technological innovations ft:l+g ridespread dissemination of inexpensive books, periodE*d E*rryr;"p, tittograpts, photographs, and other mass reproduchas fu-r-ft. beginnings of the communications revolution whichentrecultural fl,5*-.-r"r;-ed our own time. As nineteenth-century 1,re saryht to develop a vast new market, they popularized editors of the leading [Fd yalues and conceptions oftheart.newThemass the most S lrt magazines and monthlies, and artists publishers, participated in the ;frd, respected writers, lecturers, of American culture; but in their public Postures resolutely directed their gazes above the coarse and vulgar of everyday life to the lofty realm of the ideal. In a mobile, m.rd4izatiot fry -;fibr dh.ally insecure nation, acquisition of reproduced objets d'art, mifiarity with "uplifting" writers, and espousal of genteel values t@me badges of status and refinement' Despite its considerable following, however, this genteel or -victorian" culture by no means penetrated all aspects of American life. The United State; in the nineteenth century contained a strikingly and heterogeneous and diverse population with a variety of cultures control the sficulLres. Genteel cultural reformers never achieved social they sought , a fact they readily acknowledged. To reconcile democracy with From authJrity, was the extraordinary challenge they set themselves. in modest their peispective whatever gains they achieved appeared change Jith ord.r, industrial growth with stability, the face of the immense proLl.r.rr that remained. Despite determined influefforts, they particularly iensed their failure to exert a pervasive groups' both ence upon ifr. otbut, working classes and new immigrant of whim clung as best they could to their own cultural forms and new values. In the later nineteenth century, mofeovef, an assertive of culcustodians the economic elite arose with less intimate ties to ture. \7hi1e some genteel reformers successfully formed alliances with these figures, oft.n they found their social position overshaResentfully, dowed by the nouveaux riches, their authority in eclipse. TD sron at this time Iay in the realm of commerciar amusements, which were creating symbots of the new cuttural heterogeneous audience knit a inb , *not.. Nowhere were t,rese symbors and their rerationship," ,rr. mass audience mofe reveaied than at turn_of-the-cer*ry crearry Island. :;;.ril. "rd;;;;;;," ".* to*y so major was the culturar upheavar con:y Isrand dramatized that it is difficurt to recapture the age ft. America was governed by istrikirgir."n**t set of varues, a curture rn many respects more til;;;;Fto* N;;;;L_..n,o., thoroughly;Victorian,, ,hr, which Vicroria reigned. over r.gii;;g ;;. antebellum,il;;;and period, conscious elite of a setf_ mlrristeri .dr.rtorr, and reformers, ,criti.s, principatly from the drawn protestani mftil;1r, or tn. u-rl-* Norrn.rrr, had arisen to assume curturar t.ra.r.tip. In the wake of the disintegration of the ord coronial g*," .r*r,'these genteer reformers as their mission to disffi;';*: took and instrucr the turbulent urban-industriar democracy. American apostres or *rt*. ,t *uousry labored to incurcare th.'v;;;;;'"., ,,charactes,,-1116s4t of integrity, self_control, *n., .rrrr-.-il.rq irrar*ri"rr;;;_;ong citizenry at targe.Idea,y, the ,6 ;;il;.:, a, a*ivities both in work and in leisure should, S. ufti*rlfy .orrir.rrr.. Hard work improved the individual as werr ur ro.i.tv, if unchecked would Uri"g .i'ii"r;;;,;;ffi#ri"il]rn"n ,#r, be spent not in idreness u,i, ,,, ,".ii"-rrrpse. Leisure, too, should .liryi"s ,.i",r"r. under their auspices, poetry, fiction, the visual ,rts, ,ni,Ifr"a prrrrt;;;;l.jn*r.O not "for art's sake,, but for d;;;r;i"rrro soci"l utility.r Throughout most of ,r,. ..rt, this genteer curture "ir.i..rir, ,r "om.i"til *iirre which deviant individuars -6: and groups might a.ry m Genteet reformers founded museums, art ""i1rl.i?rprrce. galleries, tibruri.r, symphonies, institutions which set thelermr and other rife and established the culturar tone that "rr"r*}'Lr*ot ao-irrtJ'prirr. arr*ssion. of critical importance to their success as occupied a position culturaia.biter, the support of innuential shapers of the ,t echoed their tone and ca*ied *,' fr ,d tY h n n L I t d I f I d G o t their ability to enlist a il.;;;r*g.'ilTtH:t;fiH::: ;*: i i { a -sardxe tsernd slJ .eloqnl ? s? &arros ,o aJII eql olq palrrdrorur qF3l lou puz uorJztuJoJ yo sse:o.ld aLIl ur sz^!. aJnllnf, srql &uua: IIIIS rg Jo urq aql tV 'lrnluar qtartuanat aql Jo sepElap lsrg aql ur atrm lllunpzrE ppond, qllqne arnllnl sszru nd.eu eql alrarl @ " Jo srseq .ar{ u"lrrarrry padlaq suonrpuol Iznos puu rrruouora Sur8uzq3 }o sIUreJ ao,eu eql ot pelsn(pz dllqurzd 1nq llraSza suazrlr) sll pu" trppo I?rJlsnpur-uuqJn uE se a?e Jo arIJp) uorlBu eql uaqna ,lrolslg uuf,uaurv ur porrad p)rtrn u IOIA paprf,urof, snql lzplaq s,dauo3 .rBl( plrolfi lsrrd aql eroleq s.ruad aqt ul peqsunog daqt puz ,(69r uI rrzErl slrud luauesnurz snorrrzJ s,puplsl lauo3 Jo ere aql .padsziE uaaq l1a::z:s_suq e:uzrgluErs an.q s,lauo3 ,lpsar sV .papal8au surznnr " uollzlndar Iuuorlzu Eurrnpua sll peqsllqulsa lr q)rq,u, ur Jxaluof aql tasnoru pu?lsl lauo3 zl8lzlsou eql elrdsap lng .selnqrl I")rrolsrq I?loprauz pu? self,rup lueuralddns-lzpung ;o +ra(qns elrroa?] E rr Suqzur 'lro13 papz; Jo xe uE srue,ro' lJ .lsud sll 1o lzlrdzr paru,orroq aqt uo lla8;zl saarl i,ou lauo3 .apral oral puz Euol q)olq uaal4s eete ue ol alpuplp urzruop slr uaes spr{ ralual luauasnruz aqi .p{rEIsJ 8uo1 ;o pue uralsand.r.{lnos aql uo qlzeg }o salrru ojal ,lueuelrf,xe Eurpuuuruo) erug .e?e n11tea uu Jo ogle egJ asues qlra{ sal?uosar IIIIs aurcu aqt :puz1s1 lauo Jo " il iI iil rl sraqlo luuur os ur s? roa,epua srql -JrBJun puu q:rydslp qlrar;dr-r:snuzu ili lllqnd ulpoorg-aql jo ,i l lii ilj lii t1 li r#l*If#rX aql'padl, *rrp* r;r;d;;; 'H uaqly 'sr;al pu? 'JW pu,_'rago11 ,u4 ,f,1rpos;;;r"J;puEsr 3uo1 aql Jo {?g aur?llJ ,siar8uoj yo rrrrq[ aq] Jo sur?a) .-1 krrf '1ror1 aralrl Jo &l) rrlt Jo. unasnry ,qt 1o B;agun.rg raqtslJ puu JaIIrlv ua^als 'frurgrl llil lill' ,, ,orollrtilil ,rrag arruyq l11e,adsa iaf .suorwrrsnlll aqi BurraqluEur prdlrq *"i*rlir"ipw 1uuq1 aJdoad Jo Jaqunu aSrq y .qrruasar Jo spu?rra'J?Ja^as araq eul q pl? algusuadsrpm pl^?c .paford ,q1 ,"oqa.orlp ,* paua]r?eq .,,s,rs,..{rua s''uu2x '1)N Jnquv '.,alll Jo auros paraa.su, e^,.r 1 .uq1 adoq rpazlruur 1 -urns l1p;lq'noq; uq:1n; qdasof ,suorlsanb u,Fl,1tr pr?r{ pu, rusrf,rlrrJ arugoddns qlua uoqngrrluoJ alq?nl?Aur u? apzur doqs1ro26 lro;s4l J?rlos aqr Jo sJaqtuatu aqJ .lJ?Jp lpea ue uo ;uatuaSzr.oru, arruS raJ,(nq:g Persnro 3u3lld Jelad pu? ,pro;urg 1r1ro '1u1.rzyg uaqdalS lrua11 ,ne1g pruq:ry ',{lrus auuf pur Ir?f .11 pulqaq ,rp1 ,_qirwJnurrls padJaq puaaalg Brzr3 '>Jooq srql ;o 3urlrraa. erll ur prp ro; aldoacl Jo r3qunu u ol pgalzrf rue l li i1 I i : : ! lt tli seffit{![ililoilflcu 1 genteel spokesrnsn castigated the barians, iithout By the end of the "du.u-t'iJnl ninete-eith *ril.'rt*t or industrialists as cultural bar- ;#l:*' turar ;il ;;lT: i;Hl#[:f, Jn::j;i Stiil more distressing, il;:;;, discovered au reberrron their very own ,.b.tt. ;i,.X,:,:,i::J:':1 il:T::: *;:f gered to immerse :1 |{,:t: insur ating themJis";';r:f:"-':tion's # &s "r leading minds hun- drm .",r",u' politics, in artistic realism business anj il;r.-g.lournalism in feminism, education, and other fields. The ,r_riri"", sprawling urban-indrJ;;i;;;senteel "i"Jr,r., culture as an approach qtrrrucracy ,to 1 appeared before.2 exposed as never SIowIy at first in the late nineteentf ce11ury, then quickly as the ffiffi'l iTjT .:I',.;: *;;;r middre.cra,, .iitula o,a., l1l* **f: *#,ji:,';jil;1rn'#*u*:; : *ffi;#r#fij;T.i:fi :triif:r'rfill:;,:ffiff tr,",i,.to,i.-;;'"r#Jfi illlill;,I..iffi *r::,,T:tffiTi refinement in presenting ,n.r, to the swedish Nightiigare, ,i"r.,.rr_r-rn the Feejee Mermaid ,turn But by the of rhe new market, u,ir, within and spilling beyond it, uorl..l"to ..r,igr, ;nii;ild.. or'i',,'.il;: #'" ;':T:[j:"fi1113'i' society" ,na inl*irut'ass to,, u, *# ;; i:,1 :ffi :f :"XHi,: H::1, jT::;,.:T,,,,,,,,r,, **-;i:*# tim. un d tf,e ;1+iff:?ffi ;.-,,,. fi ar "N:,:,,ffil: *r' ir' i' i' o*'1"", :,,* ll 1* i,,.d,, ',?'"1U: s, r-e"a^jJto'l.,pon a ",X1;,,1?li c rus ;, ] wi th dq; ,m&o genteer ilTh* It,jl_;;T]*.:T,Tffi of :,,,',rff Hi,Tffi";:f ryffi d among ;iJn:',:#,lili."*"i".;;,:iff ',lliil"-il:'ff ffi rniddr e-crass r ;: micidre_crass cur chirdren;; ll responsibilitv. or restrainr. rag_ l_"r,nn,l, Xff:-"r,:l, rmerrcan music and danJe l (rs Ich hreq@( ][dbrr' ortl c fuo@rat ci flhiF of fu E Tbem foi- Culture" tud@* I ilrbrnpopld md ryurren I stlsmed ;ral aprdly proilifr end Rcrere & Citr. Atlam' Chicago's Ch Forest Pa* ti The Chutespublic eagedY and fame mrc Afius ul together a r.6..66 the r facilities, bad attractions. T was not whd , 'alqe>lr?tuar lsoul $lr?d eql aPstu lBqr '.la,ra,roq 'sluaurululralue PaIJBA asaql Jo Sulsszure aql '$n snrJrJ pu? 'sJal?aql elll^aPnz^ 's11zq a:uzp 'suoqr,red pueq -)uqsrP l?rlads rraql 8uq1zq apnllul r{81ur aseql 'Pooul lurnllnr SurSuzq: ag qf,rqr\ 1o 11e 'saurrlsrad puc srroqlerlw relndod 1o (1ar:el t paraqlzS araqaasle pw pu?lsl lauo3 1z slrzd luaurrsuEy 'Pu?lsl ,(auo3 s,>lrol aaN s?lh auql 'adors 'azls uI Ip ruagl Suqzuluoq'uolwaJlal Eullaas r(lratua ? JoJ s?))aru aur")aq IIBtus puu a8rz1 sraqlo Pu? asaql--salnrD ry. s.of,srJu?rd uzg 'g:zag uBlwLIupJ I s.ralueq 'spuzlq8lg >lr"d Fail5f, s.smo'I 'lS '&l) allq,41 puu 'alatrrra,ng'tlluag uzquallag) s.o8uql 'q:zag pllng s,puule^el) '1124 uoal aP a)uod s.zluepy 'I1g )qu?FV lqrzau pu" alorg ,teoll11N s,zrqdlapzlrt{4 'qrzag era^Jf,Ir >1124 uoSzred s.uolsog 'drlunor aql lnogSnorqt paluralllord Iprfu slrzd luaurasnlu? 'fllr aql IuoU suolsJnf,xa aalsuadxaur patq: 1zq1 surals,(s da11o4 f,Irllala ;o luauldola^aP eql dq parrnds pc raalod Eulpuads pu" atuq aJnslel uI eszeJf,ul uu pu? suollzpdod uE(F 8ur11aar.s lq alqrssod apu6 'drn1uef, eql ]o urnt aql +? padolaa4 aJaa, l?ql slrzd luauesnuz nlau eql ul saII '.laaaatoq 'arn11n: uul -Jeruy Jo Jap?J"g) Sur8uzq: aql Jo uolssardxa Eulllrls lsotu aql e.r?-d$. Plro/a, lsrr{ ,rR }o arry eql dq a)uorpn? asueulull uu alurrqdz: ol spooqJoqqElau 1uzr81uury puz sszl:-SuDlJorta, uI ,.suoapola>pp,, luorlaJols apnJf PuP 'sropad pJBIIIIq 'sapz:rz luuad ruol; paaoru srcad am; z 1o a:uds atp IrI serloru aql puv '(nfir) satJy aqt to uaz.ral s.sqSnorrng arrg rz8pg puu '(€o6r) ?f A acft to ltrl aclJs,uopuo'I {r"f '(zo6r) uorut7ur4 ,?J s.Jalsr/N ua,u,O sE afuelorl puz ssauq8nol aullnf,s?tu Jo suoq -BJqalel r.{f,ns ur 'urnlo:ap puz 'dlnqsaurop 'l:u:r1ep }o epo) laalua8 eql qllrr,r aloJq aJn]?rall1 rzlndod ;o artz,t r$.eu 3 frnlua: eql Jo uJnl aql ty 'sp1ag Eurdzld lzuorssa;ord uo puz sasndurz: a8a11o: uo tpoq sEul,ro,o11o; alau a8ru1 papzJll? lzrauaS ur s)qalr{tz a,ulqaduro: pue I aruuldar:z rqndod pesu aJlur paulz8 'suooles sszl:-Eul1ror6. Jo sqnlf, s.uaulapuaS ol pauguo) rarlrua 'SuqqSyazlrd sz q:ns spods lualor 'snoroErn 'sef,uarpnz uuqrn alrqrd. JoJ pauJorsu?Jl pu? pazrpl)Jau -uJo) aq ol apuoruruep aq] puu saqruntuurol >llplq Jo lno paSraua 3IIBP F -8zr ql {lsnuee 'llnsar r -nxa h puodsarr qEq. q ulqrlaq aq+ Jo il plerrrfIll I"rqIrI, I JalszE q -padsar r I"rJJeuu -roddoe dlsnoraar JePro IGr arpszIq Jaaarr s3 f, qrzorddc 'uo4erry Pus sw3 Surtror,u aql aPrr -unq sPry laaluat p IBnrJ3Irfl atu"f, mf,F Euours u iI 'a1zx Jzm 'lurBqsar .L -rBq I?rqlu tion lay in the new mechanical amus provided and the ,.rponr"-ii.-"'ujelr€fltS and exotic settings- they huge crowds oi pr.,,,,. ...r..,,. h of. the period remained in the ;,;;.;,:.::1T"nts the public ;;;;;ilJll'5d f:", l*#'ffi.':i",:":1.r",!Ti$h,:*,:k1,.,,",:,*,i;$ n:r,y.",,"il.ffi',H#T,Xf iiT::',T,;J,::::a*,1;:[fl public, amusement parks stilrej,rr.rr ticipated intimatery'i" between entertainment and tire curturar needs of the audience was far more striking ,p..;;;;; pastimes. Amusement parks tanof.n emerged as laboratories the ,.*-.r,r; culture, providing settings and attractions that imm.a,".i-rrf..'t'j b.f,ruior. iheir .r.?tor, managers pioneered ,rd u,ew curturrt inriitution thrt chrieng.i pr.uuir_ mg notions of public conduct rra _.irf order, of whol.rim. amuse_ ".,p."#'li::: !;:{Ltr,:,ff::ff; ffi lEl il.argr,t";;;;:dil;::#;r,:TilTffi #iT'.H;uthoritv tr'ut o"u".i'ti ,.?:rJl,triffi ,n. u"ilrEa s*., "i il. ** Previous accounts-of coney Isrand have fa,ed to grasp its rarger significance. Much ,.fr,l i'*1, ,, the vein :,f,,t They Burned the OI.d Night N"r,rfgii elegiac accounts that centrate on conev Isrand's con_ *r,,ft^;; If ffi;J, intlrnat;i;y an independent orincipality of perspective, io.,.i,, 1,,:*1 :t ;i ;il and treat ir rr', .urio.ity, prr.'"r,.-nsidered from abroader r**., ,i i.r,"-.., *,y ;f :::, quamt aspect to i; .i.,,-o the discrose meaning'th.y ffih.id fi X,',T:;',fff .;^ jj Iil,hen read for iarticipants. carefutrv, otd ;;;;;:..oirn,, of visits to the istand ruise far mo.e serio.rs issues if,r, *"uld at their often jocular tone. "r. ,, *r, first suppose from Explor.a ,fr"rf, w"y, Corey Island no Ionger appears an object ;;;;;il;';'iutt,", it emergei as a har_ modernity. The poputar f11S*,"f ilf :I;i,*l ?;;; jr.or.'u,itui*;il;.:il, jr..Ttr; j:trl 6us offers a case study of the growing cultural revoltstandards of taste and conduct that would swell to a lte r92os. The new amusement parks and their patrons the atteotion of a variety of critics, artists, and reformers. hg Co.y Island these observers felt themselves confronting i6ed fomr the face of a new mass culture. They pondered ion of this emergent culture and wondered what rules nrireints would replace those which were being swept away. ICrd ultimately precipitated a debate that has continued up o*n time over the role and significance of popular amusement a fuocracy. The story of the resort illuminates the character lle mass culture that would soon dominate American life. ,h I t E ti EiiEB?$ ?6 Bai E I f'.;uEeEd 3 E s 8-E o-f; zE s er s E-S G f 'a I i 2 t E; e H e,I€ * E.e 6 s€ I A fi E1gl lHElH E E 11 l1il11ffi E v'P l{ u.= U: ts; ='Zi g *:E 6; iE -H2-9'EqrF ;E.E Ei E L €.8.f :!E E! E a x"te u E B H'v:qc 0., c ! n:Eo ? 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