Page 97 - Cultural Studies and Political Economy

86 Chapter Two

dues), legitimizing some types of conflict (competition, armed warfare) and in-
hibiting others (trade unionism, bread riots, popular political organization)—a
structure which may appear, in the eyes of the future, to be both barbarous and
ephemeral. 156

ADORNO AND BRITISH CULTURAL STUDIES

To conclude this chapter I now compare briefly the cultural studies approach
inaugurated by Adorno with that of the British theorists. At first glance they
might seem to be in opposition, as Adorno is widely regarded as a cultural
elitist, and hence is seemingly at odds with the populism of the British writ-
ers. In fact, there is no great divide. Certainly Adorno spent much time ad-
miring great works of “high” culture, but equally did Williams refer continu-
ally to the great works (primarily literary) that for him constituted basic
documentation for his cultural history. Moreover, Williams and Adorno
shared the belief that great artists have the capacity, and duty, to stand outside
their prevailing political-economic system to understand and illuminate it,
even though (both writers noted) in contemporary society many talented
artists and scholars are co-opted by that system.
Both Adorno and the British theorists (Hoggart, Williams) placed high
value on “authentic” working class culture, defined as practices and works
arising from and helping to shape their lived conditions. For Adorno, authen-
tic popular culture (culture of the people) was both rebellious and “an ex-
pression of suffering and contradiction [whereby people attempt] to maintain
a grasp on the idea of the good life.” 157 For Williams, authentic working class
culture entailed the struggle for human rights and democracy in the context
of class consciousness, solidarity, and an ethic of cooperation and collectiv-
ity. E. P. Thompson, too, emphasized time and again working class culture as
one aspiring to freedom, human rights, and group solidarity.
Both Adorno and the British theorists were greatly concerned that centrally
produced and distributed commercial culture, intended to meet the exigencies
of the marketplace, was replacing authentic or indigenous culture. They em-
phasized that although cultural artifacts are always produced and experienced
within the context of some political-economic order, the prevailing (capital-
ist) order exerts inordinate influence. Moreover, for these writers, the eco-
nomic context affected not just the production of cultural artifacts, but also
the psychological state of message recipients.
Williams and Adorno had slightly different views of the innovation
process. For Adorno, each innovation in media is intended to, and largely has
the effect of, extending and deepening elite control. He declared: “A techno-