The following thesis is an exploration of some of the limits of subcultural theory. Beginning with an overview of British subcultural theory, it uses two examples of contemporary musical practice to provide alternative readings of cultural activity in a global cultural economy. Examining music scenes in Montreal as well as New Zealand music fans in North America, the following is a consideration of the construction of cultural communities across the globe it offers an analysis of the depth and scope of their interactions and how a range of cultural values and meanings are produced, distributed and consumed within those communities. Rather than seeing subcultures as geographically located in specific and discrete locales, I aim to illustrate how the various networks connecting them (whether they be affective alliances or computer-mediated communications) have in many ways realigned these communities along axes which differ from those proposed by earlier subcultural theories.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.20474 |
| Date | January 1998 |
| Creators | Stahl, Geoff. |
| Contributors | Straw, Will (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Graduate Communications Program.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001641198, proquestno: MQ43954, Theses scanned by UMI/ProQuest. |
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