Argument: Argument is a part of everyday life. Through argument we judge, value, and classify things in our own cultural context. Argument allows us to define these contexts through conversations with others. It also allows us to get to know others better.

Authority: An inherent force in which things within this frame are given the label ‘good’ or ‘bad’. Because the sense of authority holds so much weight, individuals try to take care when posing some sort of judgeable object in this frame. Frith gives us an example through an academic frame. For example, Frith showed us how judging within this frame can give a particular piece of literature more value but the question of for whom are we judging still remains.

Bourgeoisie: This term refers to a particular social group, or class; the economic and political engines that make up a ruling class in a liberal democracy. In their possession, they have a greater share of the nation’s wealth. Their wealth buys them influence in matters of the social, political, and cultural. They are the captains of industry, whose considerable wealth allows them to dictate policy, tastes, norms, and patterns of civil behavior. Their interests, and the pursuit of those interests, will at times shape and define the notions of culture; given their immense influence, and control, over the activities of cultural production.

Consumption: To some thinkers, such as Adorno, it is a homogeneous relation between the public and the mass product within an inescapable structure. Yet according to Certeau it is a form of production, or perhaps in FrithÕs term, it is the value given by an individual within a public/society to a product. It involves the everyday practices as one defines what each one does and each one responds differently to the same imposed structure or product.

Culture Industry: The culture industry is defined by the body of activities, that are in operation inside the cultural sphere, and the processes of cultural production. In the making, or creation, of an art object: there maybe economic and marketing factors involved, in shaping the significance and meaning of a work of art. Through promotions, critical appraisals, talkshow appearances, media hype, reviews and previews; we see the culture industry at work shaping the meaning of a work of art, and how it should be consumed or experienced. Mariah Carey and Whitney Houston are soul divas. Mary J. Blige is the queen of R’n B. D’Angelo is the next Marvin Gaye. Brandy is a young Whitney Houston. In all this instances, the artist, and the work of the artist, have already been codified into recognizable industrial products; with prescriptions on the package, on how we should relate to the work of art, or rather, how we should consume the manufactured product of the culture industry.

Fantasy: fantasy has nothing to do with an opposition between reality and illusion , but rather interjects a third term, physical reality, that structures them both. The classic account of fantasy in Laplanche and Pontalis [1968] 'Fantasy and the Origins of Sexuality'.

field: In its simplest sense, field is an area of open land. For Clifford, it is the working place of the anthropologist that serves to frame and research on the subject of culture of a specific group. However, the author argues that seeing fieldwork as a form of travel, brings an end of "dwelling" into the picture. Also, the concept of the field for him contains too much of pluralism, while it does not deal with people as exceptional and excludes certain everyday practices, otherwise important for defining a culture. The field for Pierre Bourdieu, for example, is a field of production where there is a circular movement of symbolic capital.

Flaneur: A flaneur is known as a gentleman of leisure. This can describe someone who does not give himself up to the nervous energy and rush of neurotic society. He is relaxed; he flirts with the world. He is more of an observer than a participator. He goes where he wants when he wants and the city is his setting. The city, however, is most appropriately contextualized in the early nineteenth century. It was then that this slow paced leisurely life was possible in this backdrop.

Hegemony: this term acknowledges a differential society: a society of different classes and competing ideologies. When one ideology dominates over the others, then you have a hegemony: A particular social group exerts total social control over other subordinate groups. The term does not necessarily imply the use of force, or direct imposition: that which accounts for tyranny, and totalitarian regimes. Hegemony can be achieved by winning, and shaping, consent, so that the power of the dominant classes appears legitimate and natural. The American political landscape provides us with the following example on hegemony. The seat of the presidency is determined by the results of a free and fair election: open for all American citizens to make a run at the presidency. There has never been a black president. It does not seem that there will ever be one in the not so distant future. The dominance of white America in the political landscape, is validated by the democratic system of government: the majority rules.

High vs. Low Culture: There is no difference between the two. For every realm of cultural categories, there is an innate value. Whether or not we individually believe it is good or bad is not the point. It has value, as long as the culture itself can make a case for why it is something within that culture is valued.

Ideology- The principle ideas that characterize or form a group or theory. Adorno’s essay addressed many ideologies, one being that of the controlling bourgeoisie class. Their ideologies were their initial and motivating beliefs that controlled their actions and goals. The ideology of the artist was also apparent in the essay but denied in reality, overcome by the power of the structure. Ideology can prove to be highly influential and powerful but can also be miniscule in effect and action. Adorno uses the term to show all sides of the argument on the culture industry’s control, hence providing the reader with the understanding that this term merely addresses a state of mind or being when used in a formal essay.

local: Inhabitant of particular district. The problem for Clifford is how that particular district is defined and by whom. In todays world of globalization it is hard to draw the lines and determine certain boundaries while at the same time you identify the insiders and outsiders. The choice is historically constrained by elements like race, culture, class, gender, and sexuality, different combinations of which may be featured.

Mechanization: Mechanization refers to the period when society’s economic interests switched from a traditional agrarian model to a machine based, automated workforce. Mechanization is seen in the change of the work system into an assembly-line production, and this feeling of reproducing in a monotonous way of the same product is used also to describe the society which fell vulnerable to its power. In the text, Benjamin describes the mechanization of humans in referring to a work by Poe where 'His pedestrians act as if they had adapted themselves to the machines and could express themselves only automatically'. It is this idea of the qualities of machines taking over human beings that is being expressed in Benjamin’s piece.

mobility: The word is used to stress the different inside-otuside connections that travel or displacement involves. Culture is presented by Clifford as a movement of people marked by gender, class, race. In their inevitable "dwelling-in-travelling" they produce a variety of cultural expressions. Mobility is related to immigration (how much are you free to be moveable?), tourism, even the concept of the flaneur as well as the problem of preserving one's national identity and tradition. In the same respect, in The Predicament of Culture, he mentions Segalen’s point of view on the modern experience of displacement: self and other a sequence of encounters, detours, with the stable identity of each at issue.

Negation: In general terms this means to disprove but Adorno uses it more in meaning the denial of the artist by the culture industry. By repressing the artist, the culture industry negates them from producing their own product. This makes the artists into a slave, resulting in negative finished products. The negation of art and culture is also apparent in the stress of business, which overlooks the important goals of the artist and determines their destiny within the industry. The truth of their lives is negative for they are unable to choose their path; they are paralysed by the bourgeois negativity.

practices: Common actions or activities realized by those who constitute a society and consequently make part of a culture. The nuances behind the particular operations help describe an individual and therefore a culture in its Òoperational combinationÓ.

proper: In CerteauÕs words, Òa triumph of place over timeÓ. That is, a space that becomes appropriate for a strategy to subsist.

Shock experience: The shock experience relates to Freud’s theory that consciousness receives no memory traces, but it protects against stimuli. For any living being, the defense against stimuli is almost more important than the reception of stimuli; “the productive shield is equipped with its own store of energy and must above all strive to preserve the special forms of conversion of energy operating in it against the effects of the excessive energies at work in the external world”, These consequences lean toward the equalizing of potential and therefore, toward destruction.

strategy: The manipulation of power relationships by a power (e.g. an army) in order to draw the necessary boundaries of a place from where exteriorities (e.g. enemies) can be managed. In order for a strategy to exist, time must have allowed a space to be proper and the actions within the space to be predictable.

Structure Is the way in which something is organized. Obviously the culture industry in organized to dominate and to carry out its ideologies. The building of the culture industry began with art but turned into a capitalist business. When there was no monetary interest in art it was practically non-existent, but the culture industry built interest through capitalism and the establishment of value. The structure of the culture industry is its strength but also its strong weakness. Denying the artist of personal freedom, it negates art within the structure and promotes business and profit. This is where the power is, in the hands of the greedy who insist on control through their own selfish organization.

Subculture: a culture that exists within a larger culture; a distinct cultural group.

tactic: A calculated action with no proper focal point nor appropriate space of action. It is more instinctive and personal than strategy and Benjamin would refer to it as involuntary memory. It is more natural and yet an isolated action as it is not easily accepted within a given structure and must be prepared to grasp the momentary opportunities to exist and later be once again silent.

Value: A gauge in which everything can be judged. This gauge determines how much something is worth. Frith believes that there is no universal gauge in which value can be quantified. Everyone creates their own sense of being through personal experience therefore there can never be any universal gauge.