More Than Goth: The Rhetorical Reclamation of the Subcultural Self

Abstract

I argue that Calvin Schrag's performative notion of the "self after postmodernity" provides an innovative, multidisciplinary approach to the investigation of the rhetorical functions of spectacular subcultures. Focusing my discussion on the discourse, fashion, and demeanor of goth subculturalists, I argue that active human agents through their choices, decisions, and actions, rhetorically coauthor a degree of self-constancy. The rhetorical nature of self-identity, group identity, and subcultural ideology is the focal point of my work.It [appearance] matters to me. I like for people to know that I'm different in some way at first glance. I like to be able to recognize other goths at first glance … When I see someone in punky/gothy/industrial garb, I automatically assume that we have things in common. Kali, personal communication, July 5, 2002 Kali's articulation of a desire to be stylistically "different" than cultural others is a frequently observed phenomenon among members of spectacular subcultures. In fact, Hebdige (1979) posited the expression of difference as the primary communicative function of spectacular subcultures. He stated the following: "The communication of a significant difference, then (and the parallel communication of a group identity), is the 'point' behind the style of all spectacular subcultures" (Hebdige, 1979, p. 102). Kali's assumption that similarly dressed individuals are likely to share "commonalities," a group identity, and corresponding ideology, is also much-discussed by subcultural scholars. The significance of Kali's message, however, wasn't the actual content, but the way in which I positioned her missive as part of an ongoing narrative regarding self, subcultural identity, and ideology.

Producing Vancouver's (hetero)normative nightscape

“…is it dominant culture, mass culture, middle class or working class?). Consequently, there is an ambiguity to subcultures, as there appears to be no coherent dominant culture to resist (Muggleton 2000;Sweet 2005). Thornton criticizes a range of key cultural theorists for uncritically invoking the term 'mainstream' as an empirical social group against which subcultures are defined.…”

Genders, Cultures, and Literacies

“…While their typical day-to-day dress included a hijab (a headscarf worn by Muslim women, often, as in Kxtty's case, covering the hair and neck without obscuring the face incorporated a Goth aesthetic. As used here, Goth refers to fashion originating in the 1970s from the British Punk Rock scene and today is characterized by black clothes, pale skin, and heavy eyeliner (Sweet, 2005) in a style called alt hijabi. Kxtty also dressed in garb from the European Renaissance, and cosplayed (costume role played) fictional characters from Japanese anime.…”