THE RELATIONSHIP BETWEEN DOMINANCE AND RESISTANCE IN THE NOVEL HIGH FIDELITY
Keywords:dominance, resistance, High Fidelity, popular culture
This paper provides an analysis of the relationship of dominance and resistance in the novel High Fidelity. The aim of the paper is to identify the elements of popular culture in the novel and thus determine the nature of possible relationships in a patriarchal, capitalist society. The theoretical framework used in the paper is Fiske’s theory of popular culture (2001) and the analysis is based on regarding the characters as representatives of dominant and resistant forces. Men and the upper class constitute categories which are dominant in the relationship with subordinate ones – women and the lower class. In addition, the protagonist Rob is the prototype of a man who is subordinate to himself, i.e. to his representation of ideal male traits he lacks, according to his own beliefs. The subordinate put up resistance in diﬀerent ways. Laura is a successful business woman who possesses a strong character, which places her into a better position than that of Rob. The protagonist uses music as one of the ways to express his resistance. As a lower class member (i.e. a poor entrepreneur), the protagonist opposes upper class members (wealthy entrepreneurs) in that he possesses moral principles which they often lack.
Hornbi, Nik (2000), High Fidelity, Beograd: CLIO.
Clark, Terry Nichols, and Seymour Martin Lipset (1991), ”Are Social Classes Dying?”, International Sociology, 6, 4, 397–410.
De Certeau, Michel (1984), The Practice of Everyday Life, Berkeley: University of California Press.
Douglas, Mary (1966), Purity and Danger, London: Routledge & Kegan Paul.
Faulk, Bary (2007), „Love and Lists in Nick Hornby's High Fidelity”, Cultural Critique, 66, 1, 153-176.
Fisk, Džon (2001), Popularna kultura, Beograd: CLIO.
Fiske, John (1989), Reading the Popular, Boston: Unwin Hyman.
Fiske, John (1992), „The Cultural Economy of Fandom”, in: The Adoring Audience: Fan Culture and Popular Media (edited by Lisa A. Lewis), 30-49.
Frith, Simon (1981), Sound Eﬀects: Youth, Leisure, and the Politics of Rock ‘n’ Roll, New York: Pantheon.
Kingston, Paul W. (2000), Te Classless Society, Stanford: Stanford University Press.
Labaš, Danijel, i Maja Mihovilović (2011), „Masovni mediji i semiotika popularne kulture”, Kroatologija, 2, 1, 95-122.
Pakulski, Jan, and Malcolm Waters (1996), The Death of Class, London: Sage.
Pančić, Teofil (2000), „Fenomeni: Nik Hornbi, pisac ’priča o muškom’”, Vreme [3. Jun 2000], http://www.vreme.co.rs/arhiva_html/491/27.html, 4. 4. 2020.
Rentfrow, Peter J., Jennifer A. McDonald and Julian A. Oldmeadow (2009), „You Are What You Listen To: Young People’s Stereotypes about Music Fans”, Group Processes & Intergroup Relations, 12, 3, 329-344.
Willcocks, Leslie P. (2004), „Foucault, Power/Knowledge and Information Systems: Reconstructing the Present”, in: Social Theory and Philosophy for Information Systems (edited by John Mingers and Leslie Willcocks), 238-296.
How to Cite
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.