Cultural Theory and Popular Culture
Cultural Theory and Popular Culture
Cultural Theory and Popular Culture
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50<br />
Chapter 3 <strong>Cultural</strong>ism<br />
Gregor McLellan (1982): a history from below in that it seeks to reintroduce workingclass<br />
experience into the historical process; <strong>and</strong> a history from below in that it insists<br />
that the working class were the conscious agents of their own making. 8 Thompson is<br />
working with Marx’s (1977) famous claim about the way in which men <strong>and</strong> women<br />
make history: ‘Men make their own history, but they do not make it just as they please;<br />
they do not make it under circumstances chosen by themselves, but under circumstances<br />
directly encountered, given <strong>and</strong> transmitted from the past’ (10). What<br />
Thompson does is to emphasize the first part of Marx’s claim (human agency) against<br />
what he considers to have been an overemphasis by Marxist historians on the second<br />
part (structural determinants). Paradoxically, or perhaps not so, he has himself been<br />
criticized for overstressing the role of human agency – human experiences, human<br />
values – at the expense of structural factors (see Anderson, 1980).<br />
The Making of the English Working Class is in so many ways a monumental contribution<br />
to social history (in size alone: the Penguin edition runs to over nine hundred pages).<br />
What makes it significant for the student of popular culture is the nature of its historical<br />
account. Thompson’s history is not one of abstract economic <strong>and</strong> political processes;<br />
nor is it an account of the doings of the great <strong>and</strong> the worthy. The book is about ‘ordinary’<br />
men <strong>and</strong> women, their experiences, their values, their ideas, their actions, their<br />
desires: in short, popular culture as a site of resistance to those in whose interests the<br />
Industrial Revolution was made. Hall (1980b) calls it ‘the most seminal work of social<br />
history of the post-war period’, pointing to the way it challenges ‘the narrow, elitist<br />
conception of “culture” enshrined in the Leavisite tradition, as well as the rather evolutionary<br />
approach which sometimes marked Williams’s The Long Revolution’ (19–20).<br />
In an interview a decade or so after the publication of the book, Thompson (1976)<br />
commented on his historical method as follows: ‘If you want a generalization I would<br />
have to say that the historian has got to be listening all the time’ (15). He is by no<br />
means the only historian who listens; the conservative historian G.M. Young also<br />
listens, if in a rather more selective fashion: ‘history is the conversation of people<br />
who counted’ (quoted in McLellan, 1982: 107). What makes Thompson’s listening<br />
radically different is the people to whom he listens. As he explains in a famous passage<br />
from the Preface to The Making of the English Working Class:<br />
I am seeking to rescue the poor stockinger, the Luddite cropper, the ‘obsolete’ h<strong>and</strong><br />
loom weaver, the ‘utopian’ artisan, <strong>and</strong> even the deluded follower of Joanna<br />
Southcott, from the enormous condescension of posterity. Their crafts <strong>and</strong> traditions<br />
may have been dying. Their hostility to the new industrialism may have been<br />
backward looking. Their communitarian ideals may have been fantasies. Their<br />
insurrectionary conspiracies may have been foolhardy. But they lived through<br />
these times of acute social disturbance, <strong>and</strong> we did not. Their aspirations were valid<br />
in terms of their own experience; <strong>and</strong>, if they were casualties of history, they<br />
remain, condemned in their own lives, as casualties (1980: 12).<br />
Before concluding this brief account of Thompson’s contribution to the study of<br />
popular culture, it should be noted that he himself does not accept the term ‘culturalism’