Oppositional subcultures get absorbed into a weak sense of plural others.

Evidence

Chambers (1987) goes on to show how oppositional and subcultural musics like reggae, Afro-American and Afro-Hispanic have taken their place ‘in the museum of fixed symbolic structures’ to form a flexible collage of ‘the already seen, the already worn, the already played, the already heard.’ A strong sense of ‘the Other’ is replaced, he suggests, by a weak sense of ‘the others.’ — David Harvey, The Condition of Postmodernity, 1904

Categorization

• XREF: Directly parallels Jameson’s account of pastiche and the absorption of subversive styles into consumer culture — the key rival-periodization point. — connects to: Orientalist discourse reduces human plurality to a few fixed collective abstractions; Collective identities erode rather than vanish, losing their former social and explanatory stability.; The ‘popular’ marks subordinate culture’s resistance to being cast as low — Stuart Hall, Essential Essays, Volume 2: Identity…, 280 (+3 more)
• DEFINE: Chambers’ distinction between a strong sense of ‘the Other’ (classical modern otherness) and a weak sense of ‘the others’ (postmodern pluralism) is a compact conceptual framework.

Broader Connections

• Orientalist discourse reduces human plurality to a few fixed collective abstractions #expands (0.82)
• Multiculturalist rebellion groups are diminished by their own absurd names #exemplifies (0.78) — Ivan Davidson Kalmar, Derek Penslar, Orientalism and the Jews, 765
• Collective identities erode rather than vanish, losing their former social and explanatory stability. #expands (0.72)
• The ‘popular’ marks subordinate culture’s resistance to being cast as low #complicates (0.72) — Stuart Hall, Essential Essays, Volume 2, 280