Suchergebnisse

Intro -- Contents -- Acknowledgements -- 1 Back to Reality? My Experience with Cultural Studies -- 2 A Neo-Weberian Approach to the Study of Subcultural Style -- 3 Postmodern Subcultures and Aesthetic Modernity -- 4 Distinctive Individuality and Subcultural Affiliation -- 5 Commitment, Appearance and the Self -- 6 Change, Continuity and Comparison -- 7 Resistance, Incorporation and Authenticity -- 8 Cultural Expression or Class Contradiction? -- Appendix: Fieldwork Details and Interview Schedule -- Bibliography -- Subject Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- L -- M -- N -- P -- Q -- R -- S -- T -- W -- Author Index -- A -- B -- C -- D -- E -- F -- G -- H -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y.

The term "disaster subculture", was introduced in the 1960s and 1970s, but has since not been given a great deal of attention. Even though it is still referred to in passing, the elements of disaster subculture are rarely discussed. After considering some examples of the phenomenon and its characteristics, concludes that disaster or emergency subculture does not seem to be an appropriate application of the wider sociological concept of subculture. It is not an alternative to the mainstream culture of a society but represents an aspect of that dominant culture that only manifests itself under particular circumstances. Proposes that, like other aspects of culture, it is learned by society and its members from past experience, personal as well as societal. It entails many features typical of society's cultural heritage and often entails role and behaviour changes deemed appropriate in emergencies. Concludes that, in light of this discussion, it would seem reasonable to change the term subculture as applied to disaster behaviour to bring the name in line with generally accepted usage.

AbstractScholars of emotional subcultures have produced a rich body of evidence in regard to how these communities operate and what makes them distinct from the mainstream. To assess the state of the field, I review in‐depth, qualitative investigations into how emotional subcultures indicate their collective identity by abiding by a shared set of norms regarding how members should feel – and display those feelings – in a given context. I organize my review along four dimensions of subcultural identity work (defining, coding, affirming, and policing) in order to evaluate the strengths and weaknesses of the subfield. In general, the current scholarship has successfully established the role that emotional subcultures play in the reproduction of inequality. However, it has not adequately explored an important domain of social life (namely, religion), it has not treated its core concepts with enough analytic precision, nor has it sufficiently addressed how subcultural feeling and display rules are generated in relation to local and broad structural constraints.

This revised and updated edition of a hugely successful book brings together the most valuable and stimulating writings on subcultures, from the early work of the Chicago School on 'deviant' social groups to the present day reasearch and theories. This new edition features a wide range of articles from some of the biggest names in the field including Dick Hebdige, Paul Gilroy and Stanley Cohen, and expertly combines contemporary essays and critique with classic and canonical texts on subcultures. Examining an eclectic array of subcultures, from New Age travellers, to comic book fans, "The Reader" looks at how they are defined through their social position, styles, sexuality, politics and their music, and this new edition gives expression to the diversity of subcultural identifications, from scenes and 'tribes' to the 'global underground'. With specially selected articles, grouped sections, editors introductions and a general introduction which maps out the field, it gives students and teachers of cultural studies an invaluable study aid.

"Subcultures: The Basics is an accessible and engaging introduction to subcultures in a global context. This fully revised new edition adds new case studies and an additional chapter on the digital lives of subculturists as well as reflections on the relationships between subcultures and globalisation and the resurgence of the far-right. Blending theory and practice, this text examines a varied range of subcultures including hip hop, graffiti writing, heavy metal, punk, gamers, burlesque, parkour, riot grrrl, straight edge, roller derby, steampunk, b-boying/b-girling, body modification, and skateboarding. Subcultures: The Basics answers the key questions posed by those new to the subject, including: - What is a subculture? What are the significant theories of subculture? - How do subcultures emerge, who participates and why? - How do subcultural identities interact with other aspects of self, such as social class, race, gender, and sexual identity? - What is the relationship between deviance, resistance and the 'mainstream'? - How have both progressive and reactionary subculturists contributed to social change? - How does society react to different subcultures? - How have subcultures spread around the world? - In what ways do digital technologies and social media influence subcultures? - What happens when subculturists age? Tracing the history and development of subcultural theory to the present day, this text is essential reading for all those studying subcultures in the contexts of sociology, cultural studies, history, media studies, anthropology, musicology, and criminology. It pushes the field forward with cutting-edge theories of resistance and social change, place and space, critical race and queer studies, virtual participation, and ageing and participation across the life course. Key terms and concepts are highlighted throughout the text whilst each chapter includes boxed case studies and signposts students to further reading and resources"--

Most comprehensive discussions of the police acknowledge the inability of legal and bureaucratic regulations to determine officer behavior. Attention is turned instead toward the informal norms developed within the police subculture. These discussions, however, tend to overstress the chasm between the formal and informal. They also provide inadequate tools for understanding differentiation, conflict, and change within police departments. I address these shortcomings here by mobilizing a particular conceptualization of the term "normative order"—as a set of rules and practices oriented around a central value. Six such orders are crucial to policing: law, bureaucratic control, adventure/machismo, safety, competence, and morality. I illustrate the importance of each by drawing upon ethnographic observations of the Los Angeles Police Department, and explain how my conceputalization offers a comprehensive yet flexible means to understand the social world of policing.