赫伯迪格、朋克和后亚文化风格的意义

Hebdige, Punk and the Post-subcultural Meaning of Style

迪克·赫伯迪格的《亚文化:风格的意义》是伯明翰学派文化研究中接受度最广的一本专著,但相较于CCCS明显的现代主义立场,赫伯迪格对风格的解读方式具有强烈的后现代色彩,这与马格拉顿21年后出版的后亚文化理论研究之间有着惊人的相似性。赫伯迪格认为朋克在很大程度上是一种自赋意义的存在,它拒绝带有连贯意义的风格所指,并通过能指拼贴的空洞叙事实现风格的颠覆。这种颠覆不仅源于对阶级的反映,而且同样受到了来自艺术、媒体、消费实践本身的刺激。马格拉顿及其他后亚文化学者去阶级化的风格分析在一定程度上忽视了青年实践的政治性,赫伯迪格对朋克风格的解读,意味着在后亚文化时代颠覆性风格的持续存在是可能的。

The Meaning of Style by Dick Hebdige is the most widely accepted monograph in Birmingham School’s cultural studies. However, compared with CCCSs obvious modernist position, Hebdige’s interpretation of style has a strong post-modern color, which is strikingly similar to Muggleton’s post-subculture theory research published 21 years later. Hebdige indicates that punk is reflexive to a great extent, and it rejects the style signifier with coherent meaning, and realizes the subversion of style through the empty narrative of signifier collage. Subversion of punk style not only comes from the reaction to class, but also is stimulated by art, media and consumption practice itself. Muggleton and other post-subculture scholars’ de-classfication style analysis neglected the political nature of youth practice to a certain extent. Hebdige’s reading of punk offers a way in which a post-subcultural reading of youth can be seen to yield insights regarding the ongoing possibilities of subversive stylistic practice in a post-subcultural era.