Abstract
In this paper we engage with new cultural theories of class that have identified media representations of 'excessive' white heterosexual working-class femininity as a 'constitutive limit' of incorporation into dominant (middle-class) modes of neo-liberal subjectivity and Bourdieu's thesis that classification is a form of symbolic violence that constitutes both the classifier and the classified. However, what we explore are the implications of such arguments for those modes of white heterosexual working-class masculinity that continue to reproduce themselves in forms of overtly masculinist popular culture. We do so through a critical examination of the symbolic representation of the genre of heavy metal music within contemporary music journalism. Employing a version of critical discourse analysis, we offer an analysis of representative reviews, derived from a qualitative sample of the UK music magazine, New Musical Express (1999-2008). This weekly title, historically associated with the ideals of the 'counter culture', now offers leadership of musical tastes in an increasingly segmented, niche-oriented marketplace. Deploying a refined model of the inscription process outlined by Skeggs, our analysis demonstrates how contemporary music criticism symbolically attaches negative attributes and forms of personhood to the working-class male bodies identified with heavy metal culture and its audience, allowing dominant middle-class modes of cultural authority to be inscribed within matters of musical taste and distinction.
Original language | English |
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Pages (from-to) | 719-741 |
Number of pages | 23 |
Journal | Sociological Review |
Volume | 62 |
Issue number | 4 |
Early online date | 8 Oct 2014 |
DOIs | |
Publication status | Published - Nov 2014 |
Keywords
- Classification
- Constitutive limit
- Heavy metal
- Inscription
- Masculine excess
- Neo-liberal subject
- Symbolic violence