Anthropologycultural Linguistic Archaeology Bio Anthbroad Focus On ✓ Solved
Anthropology: Cultural, linguistic, archaeology, bio anth broad focus on the human condition, past and present, evolutionary origins and contemporary dilemmas, within a single “discipline†that crosses social science, humanities, and natural science divides the only discipline where its possible to study punk rock and primate behavior in the same building Cultural Anthro: Think collective, use deep interpretive lens, culture as overarching category, often qualitative Sociology: Think social institutions and roles, macro demographics and macro trends. Often quantitative Physcology: Think individual, think mental/cognitive, think behavioral History: Think detail, think narrative, think period, think linear Culture: A Macro Concept: All sorts of different meanings throughout history; Plural(many different ways to look at the world with different human groups) and localized; Differing and even conflicting realms of collective expression, divided by social hierarchies Red Terms: Plural, localized, shaped, transforming, differing, conflicting, social hierarchies, social division, constant exchanges Subversive VS.
Expressive Culture as a Subset of Culture Expressive Three Part Definition: 1) The “messages†of expressive culture may be very overt or more implicit. But it always saying something about us usually at multiple levels 2) Those forms of cultural expression located within aesthetic, artistic, or creative realms, articulated through multiple media, and/or deeply meaningful sensory-bodily experience 3) “Expressive Culture†contrasts to more mundane or more “functional†aspects of culture Subversive Culture Forms of expressive culture that seek to challenge a particular norm and the normative judgements it contains. Perhaps through subtle critique. Perhaps through shock. Subversive culture seeks to construct a stance of “non-conformity†with a norm others are following, consciously or unconsciously, and make visible anti-normative possibilities/practices through cultural expression Critical Theory Approach #1 Conceptual Shorthand If: culture= hegemony Then: Cultural norms reflect relations of power and hierarchies in a given society Thus: Subversive cultural expression seeks to critique power, hierarchy, dominant ideas Critical Theory: A critique of society and culture, primarily focused on relations of power and social hierarchy.
Rooted in the intellectual tradition of “critiqueâ€, a demonstrated ability to fully reveal/uncover/explore the real inner workings or deeper layer of something Specific Theory: Critical political-economy(socio-economic inequality), critical race theory(race and racism), feminism and gender/sexuality studies(gender and sexuality), intersectional theory(putting class, race, gender) KEY IDEAS 1 Hegemony: Cultures are fragmentary because of multiple power inequalities and hierarchies existing within society. Hegemonic means an ideology that is assumed to be “normal†because it reinforces the interests of a socially dominant group. Historically powerful groups exercise cultural dominance by perpetuating hegemonic norms that people accept as a given, including those made subordinate in the process KEY IDEAS 2 Subculture: A significantly distinct cultural segment within a given society that expresses itself in opposition to one or more hegemonic cultural norms KEY IDEAS 3 Style: A symbolic means of expressing a subculture, and thus oppositional, group identity and distinct way of subcultural “being†through objects, adornment, aesthetic tastes etc.
ACTIVITY Subcultures: Grunge, Punk, Beats, Stoners, Emo, Skaters, Goth ,Frat Boys, Day trippers, Rave, Drag, Gamers, Nerds, Techies Stylistic Elements: Stoners: Drug Rugs, Paraphernalia, Snacks Frat Boys: Boat Shoes, Natty Light, Jerseys, Backwards Hat, Money Skaters: Vans, Long T-shirts In opposition to: Stoners: School, Anti-drugs, Violence, Authority, Responsibility Frat Boys: Skaters: Critical Theory Approach #2 susususususususususususu Conceptual Shorthand If: culture= mass commerce Then: consumer taste and creative expression are shaped by the logic of profit Thus: Subversive expression tries to go against cultural industry standards; but is also subject to being marketed as “hip†because we consume “subversiveness too Influences and Assumptions Culture Industry: a Study of the relation between large-scale, industrialized society oriented around commercial interests and the role of cultural, aesthetic and artistic expression through mass-media(TV,radio,film,etc.) and mass consumerism(Marketing,fashion,etc.) Specific Influences: art and aesthetic criticism, communication studies, film/music/media/fashion/marketing studies Key Ideas Homogenization: The tendency for popular “formulas†to be identified and systematically reinforced in response to a “bottom line†logic of industry profits- marginalizing more complex/risky/experimental Co-optation: Creative expression that starts out “subversiveâ€(underground, not commercial, not profitable) is aggressively absorbed and then “watered down†into a mainstream/widespread consumer item, as soon as its mass “marketability†becomes apparent(ex: when a “break through†subversive item/phenomena starts to sell and people start to consume it as “rebelliousâ€/ “subversiveâ€) Examples: N-Word Designer brands Hip Consumerism: The theory of “co-optation†is too simplistic-- assumed a complete contrast between “authentic†subversive culture versus a :conservative business “establishmentâ€.
In reality, that relationship is more complex. Locating/marketing “subversive†cultural forms as for mass markets is built in to the culture industry assumptions. The culture industry actively searches for “hipness†because it reflects a “core†marketable value, “the desire to be different†NWA Fuk Da Police: First time white people learned that people be using the n word ***CAPUAS PICTURES*** Performance Theory: Approach 4 If: culture = a series of social scripts Then: We are keeping up with appearances and playing expected social roles Thus: Expression/action that breaks from the script, or deviates from expected roles has subversive potential, assuming others grasp it as a comment on the scripted nature of our social interaction Influences and Assumptions Basic Assumption: Interdisciplinary field that takes “performance†as a master concept, uses it to study not only explicitly performative events but also the performative dimensions of everyday social interaction in any social setting Specific Influences: Qualitative sociology, communication, linguistics, drama/theater, gender studies, anthropology Key Ideas The Stage as Social Life: A drama occurring on a stage as the master analogy for understanding how we interact socially and thus how we construct social norms -- i.e. expectations of how to act, what to say according to the understood “dialogue,†what to the according to the implicit “script,†ina nay given social situation, who the other “actors†are and what their respective roles are Out of Character Communication: Forms of communication/expression/action that bring attention to the fact that there is a scripted performance happening, that people are playing their expected roles.
We can intervene into the script, or explicitly subvert it by showing awareness of it(ex: by “breaking characterâ€). Of course, if scripts are constantly operating on us there’s always the danger of simply creating a new script with the new roles to play in doing so Performative Self: Two key dimensions 1. It is socially constructed, rather than individual authentic. Sense of self is built out of constant interactions with others over time. Via these constant experiences we accumulate expectations of what “character†to play and what kind of “performance†is expected in a given context 2.
It has a moral dimension: successfully performing your part carries a sense of moral obligation and, by contrast, deviating too much from your part likely encounters a moral judgement for others --Grotesque realism/body (Bakhtin “Transgressive Approachâ€) --Style in relation to subcultures (Hall/Jefferson “Critical Theory Approachâ€)- Style is A symbolic means of expressing a subculture. Ex: Stonersà Drug Rugs --Hip consumerism vs. cooptation in culture industry (Frank “Cultural Industry Approachâ€)- --2 key dimensions to the performative self (Goffman “Performance Theory Approachâ€)-Socially constructed and Moral dimension --Out of character communication (Goffman “Performance Theory Approachâ€)- Forms of communication that bring attention to the fact there is a scripted performance happening --Expressive culture as subset of culture (Introductory lecture)- forms of cultural expression that conforms to society --Subversive culture as subset of expressive culture (Introductory lecture)- Expressive culture that challenges a certain societal norm --Hegemony as concept (Hall/Jefferson “Critical Theory Approachâ€)- Hegemonic is an idea that is assumed to be “normal†because it reinforces the interests of a socially dominant group --Critical Theory, conceptual shorthand (Hall/Jefferson “Critical Theory Approachâ€)- A critique of society and culture, primarily focused on relations of power and social hierarchy.
Demonstrate the ability to fully reveal the real inner workings or deeper layer of something. --Performance Theory, conceptual shorthand (Goffman “Performance Theory Approachâ€)- Expression that breaks script or deviates from expected roles. --Carnivalesque space, function/examples (Bakhtin “Transgressive Approachâ€) --Subculture as concept (Hall/Jefferson “Critical Theory Approachâ€)- A significant distinct cultural segment within a given society that expresses itself in opposition to one or more hegemonic cultural norms --Transgressive discourse, types (Bakhtin “Transgressive Approachâ€) --Anthropological approach as interpretative analysis (Introductory lecture)- Cultural, linguistic, archaeology, bio anth.
Broad focus on human condition, past and present, evolutionary origins and contemporary dilemmas, within a single “discipline†that crosses science, humanities, and natural science divides. Only discipline where its possible to study punk rock and primate behavior in the same building. --Annular eclipse metaphor, boundaries (Bataille, “Transgressive Approachâ€)
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Title: The Interconnectedness of Subculture and Mainstream Culture in Anthropology: An Analysis of Expressive and Subversive CultureIntroduction
Anthropology, as a discipline, encompasses a broad range of human experience, crossing the boundaries of social sciences, humanities, and natural sciences. It allows researchers to delve into aspects of culture, linguistics, archaeology, and biological anthropology. This essay aims to explore subcultures within the framework of expressive and subversive culture and how they influence and critique mainstream culture. We will analyze the definitional constructs of expressive culture, and the dynamics of hegemony, and how subcultures articulate their identities in resistance to prevailing normative ideologies.
The Nature of Culture
Culture is defined as a macro-concept encompassing diverse meanings that differ across locales and historical contexts. Anthropological perspectives emphasize that culture is plural, localized, and shaped by social hierarchies (Geertz, 1973). These characteristics create a platform for different expression forms that coexist, sometimes harmoniously, and other times in tension. Thus, culture must be recognized as fragmentary due to the multiple power imbalances present within societies (Hall & Jefferson, 1976).
Expressive culture, defined as a mode of cultural expression that includes artistic or aesthetic forms, is intrinsically tied to both collective human experiences and individual identities. It serves to articulate the “messages” of a group, revealing insights into their beliefs, values, and interpretations of the world (Turner, 1986). This framework allows us to dissect the intricate relationships between expressive forms and social norms.
Expressive vs. Subversive Culture
Expressive culture is differentiated from other forms of culture by its aesthetic qualities and the depth of meaning it conveys about the human experience. According to Turner (1986), expressive culture encompasses forms of behavior that aren’t primarily functional but serve a deeper, reflective role in human society. Examples include art, music, and performance - all of which convey messages about identity, belonging, and meaning.
Conversely, subversive culture acts as a counter-narrative to mainstream ideologies, critiquing power structures and hegemony. Subversion may manifest through shock, critique, or individuals’ experiences advocating for alternative identities or practices (Bhabha, 1994). Hall and Jefferson (1976) possess significant insights into how subcultures—such as punk rock, goth, and rave—represent a distinct cultural segment that challenges dominant cultural norms.
In this context, styles among various subcultures become visual representations of identity. For example, the punk movement expressed anti-establishment sentiments through styles like leather jackets, vibrant hair colors, and unique music forms (Hebdige, 1979). These elements add layers to the understanding of aesthetic versus functional aspects (Frith, 1996).
Hegemony and Subcultures
The concept of hegemony, as introduced by Gramsci, highlights the dominance of one social group over others, encompassing ideologies accepted as “normal” or “natural” (Gramsci, 1971). Hegemonic norms often marginalize subordinate groups, whose cultural expressions become a vehicle for subversive critique. For instance, explorations within subcultures, such as the expressive dimensions of rap music, unveil struggles against societal injustices while simultaneously negotiating identity within consumer markets (Rose, 1994).
Moreover, subcultures actively navigate their positioning within a hegemonic society, using style as a symbolic means of identity construction, which resists dominant cultural expectations. Stoners, for example, embrace paraphernalia and drug culture as resistance against authority and societal norms promoting conformity. In contrast, frat boys reflect behaviors reinforcing hegemonic norms, thus showcasing the disparate dynamics across subcultures (Hepworth, 2018).
The Interplay of Subversive Expressions in a Culture Industry
The culture industry, described by Adorno and Horkheimer (1972), suggests that consumer taste and creative expression are significantly influenced by commercial interests, rendering subversive culture susceptible to co-optation. This co-optation occurs when genuine subversive cultural expressions are assimilated into the mainstream, thereby diluting their original meanings and reducing them to mere commodities (Frank, 1997). The mass commodification of subcultures has been documented in the commercialization of punk and hip-hop styles, where authentic expressions of dissent have been packaged for profit while losing their critical edge.
For instance, when countercultural symbols such as the N-word or punk fashion become mainstream, they often lose the potency rooted in their original context. Here, one can observe a critical exchange between subversions of culture and their transformations into consumer products, leading to the ironic situation where subversion is marketed as a form of “hipness” (Holt, 2002).
Performance Theory and Deviance from Norms
Goffman's performance theory deepens our understanding of the performative nature of social interaction. According to Goffman (1959), social life operates as a stage where individuals perform roles dictated by cultural norms. Notably, when individuals deviate from scripted performances, subversive potential emerges. This disruption can provoke reflections on social interactions and hierarchical structures.
Instances in drag culture exemplify this performative resistance, where gender norms are deliberately subverted. Through exaggerated performances, drag artists reveal the constructed nature of gender, prompting audiences to recognize the limitations imposed by traditional norms (Butler, 1990). Here, gender becomes a terrain of subversion and critique, augmenting broader discussions on identity, performance, and politics.
Conclusion
In conclusion, the anthropological exploration of expressive and subversive cultures offers critical insights into the complexities of human identity and sociality. As subcultures respond to hegemonic norms through distinctive styles and expressions, they continuously negotiate their presence and resistances in broader cultural frameworks. The permeation of culture by the logic of the culture industry only intensifies the relationships among subcultures, mainstream culture, and the power structures that envelop them.
Understanding these dynamics necessitates an interdisciplinary approach, drawing from various theoretical perspectives and recognizing the multifaceted layers of identities and meanings in contemporary society. Anthropology, steeped in its broad focus on the human condition, remains uniquely positioned to unravel these intricate interconnections across social hierarchies, expressive realms, and cultural critiques.
References
1. Adorno, T. W., & Horkheimer, M. (1972). Dialectic of Enlightenment. Verso.
2. Bhabha, H. K. (1994). The Location of Culture. Routledge.
3. Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge.
4. Frith, S. (1996). Music and Culture: The Politics of Pop. Oxford University Press.
5. Geertz, C. (1973). The Interpretation of Cultures. Basic Books.
6. Goffman, E. (1959). The Presentation of Self in Everyday Life. Anchor Books.
7. Gramsci, A. (1971). Selections from the Prison Notebooks. International Publishers.
8. Hall, S., & Jefferson, T. (1976). Resistance through Rituals: Youth Subcultures in Post-War Britain. Hutchinson.
9. Hepworth, M. (2018). Cultures of Consumption: The Experience of Consumerism in Modern Society. Routledge.
10. Holt, D. B. (2002). Why Do Brands Cause Trouble? A Dialectical Theory of Consumer Culture and Branding. Journal of Consumer Research, 29(1), 70-90.