擴展伯明罕次文化理論的三個面向：以中年美國人之汽車次文化、基督教與日常的藝術為例

Expanding Three Aspects of Birmingham Theory of Subcultures: A Case Study of Middle-aged Americans' Automobile Subculture, Christianity, and Ordinary Art

本文有三個目的，第一是處理文化研究伯明罕學圈其中一個研究路線的文獻缺口。這個學術傳統的研究路線是由Williams (1958)的經典概念「文化是日常的」(culture is ordinary)、Hebdige (1979)的論點—特定脈絡下的次文化風格作為藝術、以及Willis (2000)日常生活藝術理論所組成，而Willis (1977, 1978,1990)的理論是把上世紀後半段不同時期所完成的青(少)年次文化民族誌研究加以結晶化而來。然而，上述的文獻缺口在於，這些文化研究學者的理論與研究較少觸及到較年長之成人的經驗，尤其是那些從年輕時就參與青(少)年次文化，年長之後仍舊很喜歡這些次文化的成年人(Huq, 2006)。為了處理這個文獻缺口，本文深入探究我的博士研究參與者的生命史，他是一位中年美國人，也是一位白皮膚的、平凡的汽車改造者，這位參與者在2007和2008年間，跟我分享了他個人在21世紀第一個十年及更早的生命經驗(Kung, 2012)。

This paper has three purposes. First, this paper deals with a literature gap of aparticular inquiry tradition within Birmingham School of cultural studies. Thistradition is constituted by Williams’s (1958) classical argument,“culture is ordinary,”Hebdige’s (1979) consideration of subcultural styles as art in particular contexts, andWillis’s (2000) theory of“art in the everyday.”Willis’s (1977, 1978, 1990) theorywas based on the crystallization of his youth subcultural and ethnographic studiesconducted in different periods throughout the second half of the 20th century. Theabove literature gap is that cultural studies scholars of this specific tradition had littleunderstanding about experiences of older adults who participated in youth subculturesgrowing up and still loved them as they grew older (Huq, 2006). In order to overcomethis gap, this paper investigates the life story of my research participant who was anordinary, middle-aged, white American auto-modifier. This participant, in 2007 and2008, shared with me his living and lived experiences during the first decade of the21st century and earlier (Kung, 2012).