Culturalism

In the third chapter of Cultural Theory and Popular Culture, John Storey focuses on the “culturalist” approach to understanding popular culture by analyzing the connections between past, present, and future societies, and the ways in which culture is created and consumed by the populations. In order to explore this method, Storey draws upon the ideas of Richard Hoggart, Raymond Williams, E.P. Thompson, Stuart Hall, and Paddy Whannel. Despite containing their differences, “what unites them is an approach which insists that by analyzing the culture of a society – the textual forms and documented practices of a culture – it is possible to reconstitute the patterned behavior and constellations of ideas shared by the men and women who produce and consume the texts and practices of that society” (Storey 37). Rather than viewing popular culture as a toxin to society, Storey points out that ‘culturalism’ is geared toward recognizing the dichotomy in popular culture – to recognize and decide what is ‘good’ and what is ‘bad’ (56).

Raymond Williams’ The Analysis of Culture explores the definition of ‘culture’ and how it functions within ‘society’ and influences humanity. Similar to Marilyn Cooper in The Ecology of Writing, Williams recognizes that culture is too complex to have an absolute, single definition because it is constantly evolving and adapting to the times. Just as Cooper uses the “ecological model” to describe writing, Williams uses the terms ‘selective tradition’ and ‘evolution’ in order to describe and explore the subject of culture. Also, like Matthew Arnold, Williams views culture as a phenomenon that stems from man’s desire to seek perfection. However, unlike Arnold, Williams does not seem to be elitist in his opinion of who can and cannot achieve cultural perfection.

‘Culturalism,’ in my opinion, seems to be quite an effective method of approaching popular culture. The ideas and three definitions explored by Raymond Williams are interesting and allow for flexibility. He recognizes the complexities and dichotomy within the term “culture,” and he is neither entirely condemning nor praising pop culture. By recognizing the differences and connections in “lived culture,” “recorded culture,” and “culture of the selective tradition,” Williams provides a richer understanding of the term ‘culture’ itself. Additionally, I admire that Williams recognizes the human being’s ‘structure of feeling’, and also that he makes the point – as Storey puts it – that “people are not reducible to the commodities they consume” (48).