By Efraim Podoksik
This e-book is an inquiry into Oakeshott's philosophy as a complete, understood as social suggestion. The important declare of the research is that Oakeshott's philosophy is likely one of the so much subtle defences of modernity and liberalism present in modern British suggestion.
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Extra info for In Defence of Modernity: Vision and Philosophy in Michael Oakeshott (British Idealist Studies: Series 1: Oakeshott)
13 Corporate interest in the family also suggests the increasing recognition that youth hold the key to huge markets and profits as we move into the new millennium and that such markets can be harnessed only if the identities and desires of children can be mobilized within the vastly influential educational spheres of both popular culture and public education. I4 One of the most visible examples of such growth can be seen in the expanding role that the Walt Disney Company plays in shaping popular culture and daily life in the United States and abroad.
But Disney's emergence as part of a new entertainment monopoly also points to the ways in which corporate culture uses its power as an educational force to re- 20 CHAPTER I define the relationship between childhood and innocence, citizenship and consumption, civic values and commercial values. How children learn and what they learn, in a society in which power is increasingly held by megacorporations, raises serious concerns about what noncommodified public spheres exist to safeguard children from the ravages of a market logic that provides neither a context for moral considerations nor a language for defending vital social institutions and policies as a public good.
Second, he admits, though indirectly, that popular culture functions as an educational force in mobilizing our interests and desires. And third, his comments imply that culture is about both ideology and power. How else could one understand or explain the conditions through which specific messages are produced, circulated, and distributed to diverse populations in vastly different parts of the globe? After recognizing that entertainment is always an educa- DISNEY A N D THE POLITICS OF PUBLIC CULTURE 29 tional force, the question still remains: What is being taught?