Skip to main content

Week 6: Racist ideologies, Cultural Studies, & Culture Wars

I usually get exhausted half-way through 40+ page academic articles, but getting through "Race, Articulation and Societies Structured in Dominance" felt SO rewarding. Stuart Hall carefully untangles the limitations of economic and sociological theoretical frameworks and insists on linking & theorizing economic, historical, social, ideological, and of course, racial structures through the process of articulation. Toward the end of the piece, Hall writes “The ideologies of racism remain contradictory structures, which can function both as the vehicles for the imposition of dominant ideologies, and as the elementary forms for the cultures of resistance” (241). I am interested in the latter part of this statement: How do ideologies of racism also create cultures of resistance? What does this resistance look like? What conditions and structures cause different non-Black ethnic groups to weaponize racist ideologies for their own benefit? 


On the institutionalization of cultural studies, Slack writes “as cultural studies becomes more ‘domesticated,’ that is, as it becomes a more institutionally acceptable academic practice, the ‘problem’ of articulation will be cast more as a theoretical, methodological and epistemological one than a political and strategic one (127). This sentiment also echoes that of Stuart Hall’s, where instead of perceiving cultural studies as a critical, deconstructive project, it is seen as “one more paradigm”(“On Postmodernism and Articulation” 59). What do you all see as the current concerns of theory & theorizing in the field of cultural studies? What conditions in academia lead to theory losing its political imperative? (Here, I am also thinking about how critical race theory and/or abolitionist thought are subject to being metaphorized, treated as an ornament or career booster in the academy😐).

P.S.: What do you all make of the "culture wars"? Is there really such a thing as two (maybe multiple) competing ideologies or one ideology rearticulated to serve a different purpose (Biden-Harris's intersectional imperialism, for one)?

Thelma

Comments

Popular posts from this blog

On Journals and Prose

My two questions from this week have emerged from the Judith Butler piece, A 'Bad Writer' Bites Back , both centered around the journal, Philosophy and Literature —which Butler describes as the self-proclaimed “arbiter of good prose.”  I agree with Butler’s staunch defense of questioning common sense and provoking “new ways of looking at a familiar world”, and was reminded of David Harvey’s quote in the introduction to his Companion to Marx’s Capital : “Real learning always entails a struggle to understand the unknown.”   Butler describes Philosophy and Literature as a “culturally conservative academic journal” which naturally led me down a longer-than-anticipated visit to the journal's website . I was greeted with a video presented by the Philosophy and Literature’s editor Garry L. Hagberg, who rails against the “jargon infested” work that litters the journal’s field, locating Philosophy and Literature in clear opposition to such bothersome clutter.  However, Hagberg...

Week 6 Discussion Qs

 Hall brings up the concept of interpellation as applied to social formations. (p 335) How is interpellation related to articulation? How are the two different, if at all? Must the two be discussed together? I have more difficulty conceptualizing interpellation than I do articulation. If we are to take up Hall's warning not to study racism as a set of "historically specific racisms" (336) nor as something with a "universal structure" (337). What balance can we strike today between these two approaches in our current historical moment? Eduardo Bonilla-Silva has written that certain forms of modern racism have been impacted by the prevalent ideology of "colorblindness." Are we still in this moment or are new specificities arising?

Corrine's Op Ed

       Although the Grammy’s “rebranded” their “urban” music award in 2020 after being taken to task by Tyler, the Creator for using the term to cover all black artists, regardless of their chosen genre, its lingering presence can still be felt in the new “Progressive R&B” award that has taken its place. Where Tyler, the Creator and other artists argued for more diverse genres that allow for broader categorizations for “people who look like [him],” the Grammy’s simply tucked one category into the other, reflecting how “urban” and R&B are both intrinsically linked and coded to the Grammy’s board as “black music.” This neat folding away of urban back into R&B seems to be unhelpful at best and reductive at worst, and has serious repercussions for us all, artist or otherwise: the pigeonholing of black art/ ists into essentialized categories allows for only a few forms of blackness to be legitimated through the Grammy system, but it also reflects the rigid bo...