Storey, Kap.7

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aus: STOREY, John: Cultural Theory and Popular Culture.London et al. (Pearson/Prentice Hall) 2001


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In the end the postinodein ilebareconcerns the source of meaning , nor just its relation-ship to pleasure ( a n d , in rnrn, ra the source of that pleasure) bur its relationship topower 2nd authority. Who no w determines significance? Who has the right to inteaprer?Fo r pessimists and rarionalisrs like Jameson the answer is iiiulrinational capiral -rrcotds, clothes, iilms, TV shows, etc. ar e simply the results of decisions aboutmarkets an d marLcting. For pessimists and irrarionalisrs, likc Baudrillard, the answeris nobody at all - the signs that srcrrorcndu s ar e arbitrary. Fo r optimists like lainChambers an d 1.ar1.y Grossberg the answer is consumers themselves, stylists andsubculturalisrs, who take the goodson offer and make their own marks wirh tl~em."'

Th e nex t chap te r wi ll cons i s t mos t ly o f an a t t e mpt tofind answers ro som e of theseques t ions .

F u r t h e r Read ing

Appig"ansesi Lisa, (ed.), Postmod ernism, Lon don: ICA, 1986 .A collection of essays- nosrlyphilosophical - on pasrmadernism. McRohbie's contribution, 'Postmodernism and pop-ular culture', is essential reading.

Best, Steven, an d Douglas Kellner, Postmoden? Theory: Critical interrogntions, London:Macmillan, 1991.An excellent inrroduction to the debate ahour postmademism.

Boyne, Roy and Ali Ratransi ( rd s), Posrmodernisrn n ndSociety, London: Macmillan, 1990.

A useful collection of essays, with a very good inrroductio~l o rhe main issues in thedebate ahour postmodernism.I%rmker. ctcr t1t.1 \ L I IBrao&e< I\ . I'


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21 8 N o t e s Notes 21 9

Hell 1972, p. 103) .Eurler, 'lmitarion and gender insubordinario n', in InsideIOut: Leshiarr theories,

on' , in Fear of o Qtreer Planet, cdired by MichaelWarner,

218. Ibid., p. 2.

219. Alexander Doty, 'Something queerhere', in Ou t in C~tlture:Gay, p. 72.220. Ihid.221. Ibid.,D. 73 .222. Ibid.,p.83 .P " " 0" "

7 Postmodernism

1. McRobbie, Portmodernism and Papulor Culture,p . 13 .2. Ibid., p. 15 .3. Dick Hebdige, 'Posrmodernirrn and "the orher side"', in C ~l tu ra l heory and Popular

Culture: A Reader. 2nd edn. edited bv loho Storey. Hcmel Hempstcad: Prentice Hall,. . .1998,pp . 371-2.

4. See Srcven Best and Dauelas Kellner. Postmodern Theorv: Critical inuestrfations.London: Macmillan, 1991.

5. See Susan Sontae. Asamst Interllretatlon. NewYork: Deli. 1966. and Leslie Firdler.-. uThe Collected Esrays of Leslie ~ie dle r, olume 2, New ~ o r k :tein and Day, 1971. '

6. Sontag, Against Interpretation, p. 296.7 . Fredric Jameson, 'Postmodernism,ar rhe culrural logicof lare capitalism', New Left

Review, 146 , 1984, p. 56 .8. Fredric Jameson, Th e politicsof theory: ideological positions in the postmodernism

debate', in The Ideologies ofTh eory Essays, volume 2, London: Routledge, 198 8, p. 104 .9. Sonrag, Against Interpretation,p. 299.

10. Ibid., p. 302.

11. Andreas Huyssen, Afier the Great Divide: Modernism,mass ctrlttrrc an d postmod einism,London: Macmillan, 1986, p. viii.

1 2. Ibid., p. 57.13. Hal Foster, 'Inrroducrion' ro Portmodern Culture, edired by Hal Foster, London: Pluto,

1985, pp. xi-xii.14 . Best and Kellner, Postntodern Theory, p. 15.15. As Hall says, there isa sense in which postmodernism 'is about how rhe world dreams

itself ro be "American" ', 'Postmoderilism and arricu lation', p. 132.16. Quored in Simon Frirh and Howard Home, Art intoPop, London: Merhuen, 1987,

p. 104.17. Quoted in Frirh and Hornc,Ar t rnro Pop,p. 109.18. Ibid., D. 109.19. Ibid., b.120.20. Huvssen.Af te r the G~.eatDivide. o. 18 8. See also Gco ree Mellv. Revolt anto Stvle: Pop. . . . "

arts in the 50s and 60s, Oxford: Oxford Universiry Press, 1989 [iirst published in19701.

21. Hoysren, After the Great Divide,p. 195.22. Jean-Fransois Lyotard, The Postmodern Condition: A reporton knowledge, Man-

chesrer: Manchester UniversityPress, 1984.23. Ibid., p. xxiv.24. For a critical introduction ro rhe Enlightenment see Roy Porrer, Tile Enligb tei~mm t,

Basingsroke: Macmillan, 1990; Dorinda Outram, The E~iightenment,Cambridge:Cambridge Universiry Press, 1995.

25. I.yotaid, The Postmodern Condition,p. 46 .26. Ibid., D. 48 .27. Ibid., p. 51.28. For a more oosirive view of the possibiliries fora oosrmodern pedagogysee Henry

A. Girouv and Peter McLaren (eds) Between ~orders: edagog$an d the politics ofcultural sfudies, London: Routledge, 199 4.

29. Lyatard, Tlw Postmodern Condition, p. 79.30. Ibid., p. 79 .31. Sreven Connor, Portmodern ist Culture: An introductionto theories of the contempor-

ary, Oxford: Uasil Blackwell, 1989,p. 41 .32. Ibid.33. Quoted in Connor, Postmo dernist Culture, p. 41.34 . lain C hambers, Popu lar Cttlturc: Thc ntetropoliton experience, 1.ondon: Routledge,

1988, p. 216.35. McRobbie, Pastmodcrnism and Popular Culture, p. IS.36. Kobena M ercer, W elcome to the Jungle: N ew positions in block cultural studies,

London: Routledge, 1 994 , p. 2.37. Best and Icellner, Portmodern Theory,p. 109.38. Ibid., p. 111.39. Connor, Purtmoderrzist Culture,p 51 .40 . lean Baudrillard. For a Critiaueof the PoliticalEconomy of the Siarr, Sr Louis: Telo s. . .

Press, 1981,p. 185.41. lean Baudrillard. Simulations. NewYork: Serniorexr(e1. 1983 .o. 2... . .42. ibid., p. 55. '43. Quoted in Frith an d Horne, Art into Po p, p.7.


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118. Ihid.119. See Stuart Hall, 'The rediscovery of ideology: rhe rerurn of rhc repressed in media

srudies', and 'On posrmodern~sm nd ai.ticuinrion:a n interview with Srunit Hall', andJennifer Daryl Slack, 'The theory an d merhod of articulation in culruial studies', inStldnrt Hn!l: C~ ,ltu rn!drolopues in culttrral studies, edired hv David Morley andKuan-Hiing Chen, Ir,ndon: Routledge, 1996 ; androhn Storey, CcrI(arn1 Corrrtcmptionan dEverydzzg I.ife, I.oiidon: Edward Arnold, 1999.

120. Collins, 'Postmodel-i~ism nd television',p. 3 3 4 .121. See Anrany Easthope, Literary into Cnltrrrol Studies, London: Routledge, 1991,an d

Sreven Connor, 71,eory and Cultural Value, Oxford: Blackwell, 1992.See also thedrbate on value berween Antony Easthope and Steven Connor inTerttcal Practice,4 (3 ), 1990 and 5 (31, 1991. Sccalso John Frow, CU/~I I I .~ /tifdies nird Vlilue, NeviYork: Ox ford Universiry Press, 1995.

122. See Jane Thompkins, Sensntional Designs: Th e cu!tural work o f American fiction.179& 1860 ,New York: Oxford University Press, 1985, and Barbara Herrnsrein Smith,Contingencies of Vab~e,Cambridge: Harv ard UniversityPress, 1988.

123. T he Four Tops, 'It's T he Same Old Song',Four Tops Motozvn Greatest Hits, MotownRecord Company, 1992.

124. See Bourdieu, Distinction.12.7. John Fekete, 'Introductory notes fora postmodern value agenda', in Life After Post-

moderttism, edired by John Fekcrc, New York: t Martin's Prcm, 1987 , p. 17.126 . Sontag, Against Interpretation,p. 304.127. Frith and Horne, A r l into Pop, p. 169 .

m -r,* .

McGuig an, Cultur.al Populism, London: Rourledge, 199 2,p. 4.[lid\bid., pp.

Nicholas Gar , Polirical economy and cultural studies: reconciliarion or divorce',in Cultu ral Th eo n d Popu lar Cw!tuve: A Render, 2nd edn, edired by John Storey,Hem el ~ e m ~ s t e a i : 601. For an excellent response ro Garnham's

. " .McGuigan, Cultura! Populism,p. 76 .Ibid.. o. 79 ..lbicl., p. 159.Ibid., p. 171. For a similar claimies, edired by Ma nin Barker and[bid., p. 85.Ibid., P. 72.Ibid., b. 7 5 .John Fiske, Television Culture, London: Routledge, 1987,p. 309.Ibid.Ibid.. o. 311.

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