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CHRIS ROJEK
Culturel
Studies
W 4^' !.€
S H O R T I N T R O D U C T I O N S
Cultural Studies
Polity Short Introduction series
Published
Chris Rojek
polity
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Contents
Culture Counts 1
The local and the global 2
Media genre and cultural representation 4
The meaning of culture 5
The culture of 'friendly fire' 7
Zeroing in on Culture 29
The origins of Cultural Studies 30
Postwar Cultural Studies 33
Culture is ordinary 37
Textual-Representational (1958-95) 48
Globalization/Post-Essentialism (1 9 8 0 -) 55
Governmentality/Policy (1 9 8 5 -) 61
Cultural Studies at the crossroads 66
Notes 162
References 163
A uthor Index 169
Subject Index 171
Culture Counts
Our knowledge of these figures and the events associated with them is
transmitted to us through the media. The media isn’t just an impartial
relayer of news and information. It is a complex multi-corporate/state
network that codes and packages data for public consumption. Different
media organizations such as the BBC, CNN, Fox News, A1 Jazeera TV,
ABC, CBS, The Guardian, the N ew York Times, L e M onde, the Toronto
G lobe & Mail, the L os Angeles Times, the L ondon Evening Standard,
the N ew York Post and The Australian have distinctive styles of report
ing and addressing audiences. Media genre is not just a question of
presentational style, it also includes questions of relevance, judgements
about the national and international significance of items and the cultural
and political agenda that informs these processes of selection. These
reflect not only national characteristics but also distinctive cultural tradi
tions of journalism and broadcasting. To this extent, the news, just like
the companies that package and code it for us, is branded.
Among the best rationales for doing Cultural Studies is that it shows
why the human world is very often not what it seems to be and offers a
disciplined way of exposing how communication and representation
serve the interests behind power and manipulation. The common rights,
traditions and truths at our disposal often turn out to be illusions disguis
ing powerful social interests and complex political devices designed to
achieve comphance. By critically examining them, we discover an intri
cately staged version of our pooled traditions of truth and justice, and
what frequently turns out to be a mythical version of our shared past.
The metaphor of staging suggests that there is someone or something
behind the deception who wilfully engages in the craft of concealment
and fabrication. To be sure, there can be no doubt that the powerful
engage in systematic distortion to disguise the full range of their might
and the inner nature of their social, political and economic interests. It
would be rash and perverse to discount the formidable nature of their
power. Yet if it is right to describe them as puppeteers, history has a
habit of tying them up in their own strings. The interplay of culture
creates unplanned outcomes that condition the options for intentional
action for all.
CULTURE COUNTS 5
Myth has certainly been used by the mighty to manipulate and control
ordinary people. But myths have also been developed by ordinary people
to give meaning to complex and bewildering events.
The 9/11 atrocity was so shocking and incompatible with the basic
tenets of Islam that some Muslims responded with the submission that
the CIA had concocted the attacks to throw Islam into disarray. The
devastating tsunami that killed hundreds of thousands in South East Asia
in December 2004 was explained by some conservatives as the punish
ment of God for human waywardness. Myths have cultural origins and
they are typically elaborated in culture wars.
There are many ways in which this can be investigated in Cultural
Studies. We don’t need to start with abstract concepts like ‘ideology’,
‘hegemony’ or ‘interpellation’ to describe how cultural authority is
imposed; or ‘hybridity’, ‘encoding’ or ‘decoding’ to investigate how cul
tural authority is contested. As we will see later, these concepts have
their place in the subject. But the root and branch of culture is about
how you and others around you are organized as persons. It is about
why one person believes that free university education is good, and
another insists that students must pay their way; or why Muslims gener
ally tolerate arranged marriages, while Westerners typically deplore
them. Culture is about brass tacks. It influences our choice of friends,
sexual partners, diet, jobs, leisure activities and many other issues besides.
It explains much about how we live and how we die. Because we experi
ence culture as individuals it is easy to imagine that our private world is
unique. But culture is public. It is the system of representation through
which we render ourselves unto ourselves and others, as ‘individuals’,
‘unique persons’ and ‘social agents’. By studying it we gain knowledge
of how even the most private experience is culturally enmeshed.
The term ‘culture’ derives from the Latin cultura. The original meaning
was agricultural, referring to the practice of tilling the soil, growing crops
and raising animals. Understandably, Cultural Studies has paid scant
attention to this obsolete meaning. Instead, it proceeds on the basis that
the term ‘culture’ today carries dual social meanings having to do with
urban-industrial forms of knowledge and power. Knowledge here is
understood as both concrete ideas about the meaning of culture and
technical ideas about how to communicate meanings to best effect.
Power refers to the unequal distribution of economic, cultural and politi
cal resources in society, and the changing balance of influence and force
6 CULTURE COUNTS
American soldiers mistaking one another for the enemy, and discharging
their weapons against each other.
Tillman is an interesting modern American hero. An atheist, an anti
war activist and an ally of the prominent left-wing critic Noam Chomsky
- he was scheduled to meet Chomsky on his return from Afghanistan - he
nonetheless volunteered to go to war in a cause about which he enter
tained grave doubts. Perhaps his involvement in the world of American
sports exploited and developed a sort of knee-jerk nationalism in his
personality. Tillman would not be the first or last intelligent young critic
CULTURE COUNTS 9
of American foreign policy to decide that in the end he was for his
country, right or wrong.
For students of Cultural Studies a number of fascinating questions are
suggested by this incident. What culture of masculinity created Patrick
Tillman? Flow was his close identification with the culture of national
interests engineered? In what ways did he handle his reservations about
the war during his time of service? How are ‘allies’ and ‘enemies’ cultur
ally coded and recognized? What makes ‘situational awareness’ collapse?
Why did military officials seek to disguise the manner of his death? What
has the anti-war movement done to make an issue of the circ’umstances
of his death?
These questions belong to the sphere of cultural politics, and they are
legitimate, indeed one might say, necessary topics for Cultural Studies.
Why necessary? Because they reveal the public calculus behind ‘private’
choices, the complex intended and unintended forces that present a
truncated view of the past as binding and point to the motivations of
the cultural interests who try to tailor history to fit their own cloth. By
investigating these topics we have the chance of becoming better
acquainted with how meaning is presented and resisted in common
culture. In a word, we stand the chance of becoming better citizens.
Cultural Studies is frontally concerned with political issues. This is
inevitable because individuals and groups are positioned in a set of
unequal relationships with respect to scarce economic, social, cul
tural and political resources. But there is more to the subject than a
political focus.
Doing Cultural Studies
- Genre -
CulPol Production
CHAPTER VIII.
74. References.
Bibliographies.—Same as §§ 47 and 63, above; Channing and
Hart, Guide, § 130.
Historical Maps.—Same as § 47, above.
General Accounts.—Osgood, Colonies; Doyle, Colonies, III. ch. ix.;
Lodge, Colonies, ch. xxii.; W. Weeden, Economic and Social History;
J. Bishop, History of American Manufactures; American Statistical
Association Publications, No. 1.
Special Histories.—Manners and customs: Earle, Costumes of
Colonial Times, Customs and Fashions in Old New England, Sabbath
in Puritan New England, and Stage Coach and Tavern Days; W. Bliss,
Colonial Times on Buzzard's Bay, and Old Colony Town; F. Child,
Colonial Parsons of New England; J. Felt, Customs of New England;
Fisher, Men, Women, and Manners, I. chs. ii.-v.; Howe, Puritan
Republic, chs. v.-ix.; W. Love, Fast and Thanksgiving Days; M. Ward,
Old Colony Days; Wharton, Colonial Days and Dames.—Education: C.
Johnson, Old Time Schools and School Books; E. Brown, Making of
our Middle Schools.—Theology: B. Adams, Emancipation of
Massachusetts; F. Foster, New England Theology; M. Greene,
Development of Religious Liberty in Connecticut; C. F. Adams,
Antinomianism.—Press: C. Duniway, Freedom of Press in
Massachusetts; G. Littlefield, Early Massachusetts Press; R. Roden,
Cambridge Press.—Slavery: G. Moore, Slavery in Massachusetts; G.
Williams, Negro Race in America, 1619-1880; W. Dubois,
Suppression of Slave Trade.—On the witchcraft delusion: C. Upham,
Salem Witchcraft; S. Drake, Annals of Witchcraft; J. Taylor,
Witchcraft Delusion in Connecticut.—Medical practice: O. Holmes,
Medical Profession in Massachusetts. See also, biographies of
prominent men.
Contemporary Accounts.—Same as § 63, above.
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