Second Mix - Cultural Studies
Cutting Irmscher's and Lanham's work on style, I break to cultural studies.
Dick Hebdige's 1979 Subculture: The Meaning of Style
marked an important moment for cultural studies.
Hebdige's study of one particular subculture,
the punk movement, examined the intricate ways
meanings are socially constructed.
For Hebdige,
subculture is a "meaning of style" that is
"pregnant with significance."
Cars, safety pins, clothes "are gestures, movements towards a
speech which offends the 'silent majority,' which challenges
the principle of unity and cohesion, which contradicts the myth of
consensus" (Hebdige 18) and which, in the end,
might remain
tools of social critique yet still
become products of a consumer industry.
What makes Hebdige's work significant for
composition studies is how he connects consumer
culture with writing.
Punk interest in recontextualizing
the artifacts of consumer culture functioned as a way of
writing the punks' discontent with the
status quo. Subculture style, Hebdige
tells us, communicates "through commodities even if the meanings attached to
those commodities are purposely distorted or overthrown" (95). In this sense,
style is a form of cultural
critique. Yet it works from the position that we
are excellent consumers. But are we critics as well?
I mix Hebdige into my composition and cut to the notion of critique so
dominant in his analysis. How do we work with consumer culture to
teach students writing is a form of critique? How does style,
the style of mass consumption that we are all good at, inform our critical
attitudes and perspectives? How has this style been ignored in composition
or been reduced to the distinction between Plain and Ornate
rather than cut and mix?
How can popular interest in commodities be transformed into critical writing practices?