In locating creative work within a social context we can begin to see the problematic nature of considering only the individual producer’s action when investigating creative activity. The evidence, according to both the neo-Marxist views of Wolff and the symbolic interactionist perspective of Becker, amongst many others, supports the idea that creativity can no longer be credited to particular individuals only. Taking the idea that all art is a social product one step further are the poststructuralists (see Harland 1987, Moxey 1994) who have been instrumental in altering the broader focus of cultural studies (Frow & Morris 1993, Real 1996, Sardar & Van Loon 1998). At the time of the appearance of poststructuralist thought, cultural studies were a cluster of approaches to theory that investigated notions of identity, power, meaning, discourse and representation and, for our purposes, not only placed a strong emphasis on the text but also stimulated a reappraisal of cultural consumption. In playing their part within this larger project, the poststructuralists not only put in place what can be called the dissolution of certainty but also helped destabilise the idea that the individual producer is the sole locus of the act of meaning-making. In doing this they helped dismember the meta-narratives of Romanticism for those who were engaged in the cultural studies project.
KeywordsPopular Culture Cultural Production Culture Industry Popular Music Cultural Consumption
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