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any system of beliefs, values and norms which is shared and actively participated in by an appreciable minority of people within a particular culture. The relationship of the subculture to the so-called dominant culture has been identified as one of subordination and relative powerlessness. Power relations are therefore an important dimension of any sociological consideration of subculture.

Subcultures have been examined in terms of ETHNICITY, CLASS, DEVIANCE and YOUTH CULTURE. R. MERTON constructed a typology of possible responses to a dysjunction between means and goals. These responses might give rise to a number of different subcultures. S. Cohen (1971) has noted the emergence of a succession of youth subcultures in the postwar era, for example, in Britain, ‘Teds’, ‘Mods’, ‘Rockers’ and ‘Punks’. It has been suggested that such subcultures serve as ‘magical solutions’ to the problems created for young working-class people in contemporary Western societies (Brake, 1980). They serve to provide a means of establishing both individual and group identity They are discernible largely through stylistic expression, particularly language, demeanour, music, dress and dance.

Subcultures, like culture generally, are the result of collective creativity and are therefore subject to historical change and transformation. Feminist theorists such as McRobbie and Garber (1976), McRobbie (1991) have noted that gender is rarely considered in the study of subcultures. They have raised important questions concerning the relationship of young women to youth subcultures. See also CULTURAL STUDIES, CULTURAL CAPITAL, CULTURAL DEPRIVATION, CULTURAL LAG, CULTURAL (AND LINGUISTIC) RELATIVISM.

Collins Dictionary of Sociology, 3rd ed. © HarperCollins Publishers 2000
References in periodicals archive ?
Further, while segmenting travel markets by age can be expeditious and often useful, it might also be valuable to examine the underlining subcultural characteristics of Millennials.
From this interactionist perspective of the contemporary male skate scene and its diverse actors, Snyder offers the compelling view that skateboarding's unique social field produces numerous "subcultural careers." In this way, Snyder rightly reminds us that today's subcultures have significant opportunities (including through social media and other modes of promotion/production) from which members can gain various capitals.
Although the author addresses how subcultural life has changed in recent decades, a more systematic comparison between Cucumber and Queer as Folk would shed more light on this issue.
The attribute most often mentioned is our internationalist outlook: an outlook precisely opposite to that fostered in the sheltered subcultural enclave.
A expressao subcultural dos scans, assim como aquele que compele o fandom das HQs, evidencia um fenomeno social compartilhado (Duffett, 2013), expandido e que forca o entrechoque de outras e diferentes instancias e artefatos hipertecnologicos lidando ainda com as componentes agregadoras particulares a cada um de seus elementos (Lemos, 2010).
This section is a nuanced account and an aesthetic journey in the subcultural practices that shape our urban environments.
Beginning in the 1940s, sociologists developed subcultural theory, which organized specific demographic groups into subcultures based on a number of shared social traits (Williams 2011, 7).
Professionals often enjoy a great deal of respect, not only because of their high "subcultural capital" (Thornton, 1996), but also from their role in defining and creating it.
The city is the pre-eminent site for the performance of a spectacular stylistic aesthetic and "risky" and sometimes "deviant" subcultural alterities that resist conformity with the dominant culture.
Attention is paid, for instance, to the processes of self-fashioning, the role of branding in the contemporary fashion-scape, the significance of visual adornment in films and literature, the functioning of subcultural styles, the writing of fashion personalities, and the place of fashion in political enterprise.