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The Centre Of Contemporary Cultural Studies |
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Dick Hebdige, a member of the CCCS, subjected Punk specifically, and the subcultural milieu more generally, to a form of historical, neo--Marxist, semiotic analyses inspired by the work of Roland Barthes that typifies the work of the CCCS. Describing the movement as ‘style as a form of refusal’ he posited Punk as the (then) most recent subculture that sought not only to challenge the hegemony of the dominant culture, but also as an attempt by youth to reconcile the tensions inherent within that culture; arguing that the subcultures of the post war period represented an attempt by working-class youths to reconcile racial tensions bought about by increased levels of immigration. Thus the Teddy Boys, Skinheads, Mods and Rockers were explained with reference to this dialectic, and were characterised by Hebdige as having strong group boundaries. |
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Feminism And Social Capital |
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Social capital is also heavily influenced by gender, and this too has implications as women are more likely to be promoted to levels where women are already present. This is due in some part to the ‘sex-typing’ of jobs, but is also connected to same-sex alliances; it may be that what is thought of as a glass ceiling is actually a glass door, which can only be opened by women if other women have opened it previously. The social and cultural capital combine to form a ‘gendered habitus’ or predisposition which structure men and women’s decisions, behaviour and opportunities. Yet, as gender is an asymmetrical category so society prioritises the masculine over the feminine habitus; effecting also those who adopt feminine behaviour, such as gay men, who are accordingly treated as less than ‘real men’. |
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