Page 195 - Decoding Culture
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188  D E C O D I N G   C U L TURE

           knowledge that cultural studies seeks and about the  methodolo­
           gies best suited to the task of establishing such knowledge. The
           third is primarily political, involving differences about the critical
           positions that cultural studies should or could  adopt in analysing
           the  role  of cultural  forms  in  modern  societies.  And  the  fourth
           raises  related  questions  of  aesthetics  and  evaluation,  asking
           whether and in what degree cultural studies should seek to make
           judgements  of  quality  about  the  artefacts  that  it  examines.
           Needless to  say,  all  four interrelate  in  a variety  of ways.  Linked
           issues  of theory,  method,  politics  and  aesthetics  have featured
           prominently in the short lifetime of cultural studies, so it is hardly
           surprising to find that they form the main fault-lines along which
           divisions open up in times of change.
             I shall consider these four dimensions in reverse order, begin­
           ning with what some might argue is the most long-lived but least
           interesting issue: the problem of making judgements of quality.
           In cultural studies' earliest manifestations the question of quality
           was clearly to the fore.  Exponents of the culture and civilization
           tradition saw discrimination between 'good' and 'bad' culture as
           central to the whole enterprise, as did their revisionist successors
           such as Hoggart, Williams, and those who sought to demonstrate
           that popular culture, too, was capable of profundity and serious­
           ness of purpose. This much we saw in Chapter 2. The arrival of
           structuralism,  however,  signalled  a  move away from  issues  of
           quality,  encouraging  questions  about how it was  that cultural
           artefacts actually functioned rather than seeking to make judge­
           ments  about  their  aesthetic  and  moral  value.  This  is  not  to
           suggest that evaluative concerns disappeared entirely. There has
           always remained at least a residual  interest in critical discrimi­
           nation,  a  topic  given  periodic  renewal  in  highly  publicized
           attempts to define the 'canon' in different cultural forms - espe­
           cially literature - or to rescue commonly devalued texts (such as





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