Counterculture in the context of "Subculture"

⭐ In the context of subculture, counterculture is considered…

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⭐ Core Definition: Counterculture

A counterculture is a culture whose values and norms of behavior are opposed to those of the current mainstream society, and sometimes diametrically opposed to mainstream cultural mores. A countercultural movement expresses the ethos and aspirations of a specific population during a well-defined era. When oppositional forces reach critical mass, countercultures can trigger dramatic cultural changes.

Prominent examples of countercultures in the Western world include the Levellers (1645–1650), Bohemianism (1850–1910), the more fragmentary counterculture of the Beat Generation (1944–1964), and the globalized counterculture of the 1960s which in the United States consisted primarily of Hippies and Flower Children (c. 1965–1973, peaking in 1967–1970). Regarding this last group, when referring to themselves, counterculture will usually be capitalized and is often hyphenated as: Counter-Culture or Counter-culture.

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👉 Counterculture in the context of Subculture

In the sociology of culture, a subculture is a group of people within a cultural society that differentiates itself from the values of the mainstream or dominant culture to which it belongs, often maintaining some of its founding principles. Subcultures develop their own norms and values regarding cultural, political, and sexual matters. Subcultures coexist within mainstream society while keeping their specific characteristics intact.

Since its inception in the English-speaking world (primarily North America and the United Kingdom) during the 1940s–1950s, the concept and study of subcultures was developed in the academic fields of sociology, communication studies, and cultural studies. Examples of subcultures include punks, skinheads, Teddy Boys, mods, rockers, bikers, hip-hoppers, and more. Subcultures differ from countercultures.

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Counterculture in the context of Jazz poetry

Jazz poetry has been defined as poetry that "demonstrates jazz-like rhythm or the feel of improvisation" and also as poetry that takes jazz music, musicians, or the jazz milieu as its subject, and is designed to be performed. Some critics consider it a distinct genre though others consider the term to be merely descriptive. Jazz poetry has long been something of an "outsider" art form that exists somewhere outside the mainstream, having been conceived in the 1920s by African Americans, maintained in the 1950s by counterculture poets like those of the Beat generation, and adapted in modern times into hip-hop music and live poetry events known as poetry slams.

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Counterculture in the context of The Rebel (book)

The Rebel (French: L'Homme révolté) is a 1951 book-length essay by Albert Camus, which treats both the metaphysical and the historical development of rebellion and revolution in societies, especially Western Europe.

Examining both rebellion and revolt, which may be seen as the same phenomenon in personal and social frames, Camus examines several 'countercultural' figures and movements from the history of Western thought and art, noting the importance of each in the overall development of revolutionary thought and philosophy. He analyses the decreasing social importance of god, king and virtue and the development of nihilism. It can be seen as a sequel to The Myth of Sisyphus, where he ponders the meaning of life, because it answers the same question, but offers an alternative solution.

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Counterculture in the context of Rive Gauche

The Rive Gauche (French pronunciation: [riv ɡoʃ]; Left Bank) is the southern bank of the river Seine in Paris. Here the river flows roughly westward, splitting the city into two parts. When facing downstream, the southern bank is to the left, whereas the northern bank (or Rive Droite) is to the right.

The Rive Gauche is associated with artists, writers, and philosophers including Colette, Margaret Anderson, Djuna Barnes, Natalie Barney, Sylvia Beach, Erik Satie, Kay Boyle, Bryher, Caresse Crosby, Nancy Cunard, H.D., Janet Flanner, Jane Heap, Maria Jolas, Mina Loy, Henry Miller, Adrienne Monnier, Anaïs Nin, Jean Rhys, Gertrude Stein, Alice B. Toklas, Renee Vivien, Edith Wharton Pablo Picasso, Arthur Rimbaud, Paul Verlaine, Henri Matisse, Jean-Paul Sartre, Ernest Hemingway, F. Scott Fitzgerald, James Baldwin, and dozens of members of the great artistic community at Montparnasse. The phrase implies a sense of bohemianism, counterculture, and creativity. Some of its famous streets are the Boulevard Saint-Germain, Boulevard Saint-Michel, the Rue de Vaugirard, and Rue Bonaparte.

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Counterculture in the context of Christian head covering

Christian head covering, also known as Christian veiling, is the traditional practice of women covering their head in a variety of Christian denominations. Some Christian women wear the head covering in public worship and during private prayer at home, while others (particularly Conservative Anabaptists) believe women should wear head coverings at all times. Many theologians of the Oriental and Eastern Orthodox Churches likewise teach that it is "expected of all women to be covered not only during liturgical periods of prayer, but at all times, for this was their honor and sign of authority given by our Lord", while others have held that headcovering should at least be done during prayer and worship. Genesis 24:65 records the veil as a feminine emblem of modesty.

Manuals of early Christianity, including the Didascalia Apostolorum and Pædagogus, instructed that a headcovering must be worn by women during prayer and worship as well as when outside the home. When Paul the Apostle commanded women to be veiled in 1 Corinthians, the surrounding pagan Greek women did not wear head coverings; as such, the practice of Christian headcovering was countercultural in the Apostolic Era, being a biblical ordinance rather than a cultural tradition. The style of headcovering varies by region, though Apostolic Tradition specifies an "opaque cloth, not with a veil of thin linen".

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Counterculture in the context of Hipster (contemporary subculture)

The 21st-century hipster is a subculture (sometimes called hipsterism) that is defined by claims to authenticity and uniqueness, but actually lacks authenticity and conforms to a collective style. The subculture embodies a particular ethic of consumption that seeks to commodify the idea of rebellion or counterculture. Fashion is one of the major markers of hipster identity. Members of the subculture typically do not self-identify as hipsters, and the word hipster is often used as a pejorative for someone who is pretentious or overly concerned with appearing trendy.

The subculture is often associated with indie and alternative music. In the United States and Canada, it is mostly associated with perceived upper-middle-class white young adults who gentrify urban areas.

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Counterculture in the context of Lysergic acid diethylamide

Lysergic acid diethylamide, commonly known as LSD (from German Lysergsäurediethylamid) and by the slang names acid and lucy, is a semisynthetic hallucinogenic drug derived from ergot, known for its powerful psychological effects and serotonergic activity. It was historically used in psychiatry and 1960s counterculture; it is currently legally restricted but experiencing renewed scientific interest and increasing use.

When taken orally, LSD has an onset of action within 0.4 to 1.0 hours (range: 0.1–1.8 hours) and a duration of effect lasting 7 to 12 hours (range: 4–22 hours). It is commonly administered via tabs of blotter paper. LSD is extremely potent, with noticeable effects at doses as low as 20 micrograms and is sometimes taken in much smaller amounts for microdosing. Despite widespread use, no fatal human overdoses have been documented. LSD is mainly used recreationally or for spiritual purposes. LSD can cause mystical experiences. LSD exerts its effects primarily through high-affinity binding to several serotonin receptors, especially 5-HT2A, and to a lesser extent dopaminergic and adrenergic receptors. LSD reduces oscillatory power in the brain's default mode network and flattens brain hierarchy. At higher doses, it can induce visual and auditory hallucinations, ego dissolution, and anxiety. LSD use can cause adverse psychological effects such as paranoia and delusions and may lead to persistent visual disturbances known as hallucinogen persisting perception disorder (HPPD).

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