| Abstract: | Within social movement literature, the concept of collective identity is used to discuss the process through which political activists create in-group cohesion and distinguish themselves from society at large. Newer approaches to collective identity focus on the negotiation of boundaries as social movement agents interact with social structural forces. However, in their adoption of a perspective that holds identity as a process, these social movement studies neglect the more tangible cultural elements that actors manipulate when they express collective identity. This research project adopts a subcultural perspective in the Birmingham tradition to address the question of how social movement actors reapporpriate symbolic expressions of identity and what meaning systems they draw from that enable them to redefine "stigmatization" as "status" This article offers the concept of "oppositional capital" as a general framework for analyzing the symbolic work that social movement actors perform in their expressions of collective identity. For the purposes of analysis, the primary elements of oppositional symbolic expressions are divided into the four categories of distinction, antagonism, political activism, and popular cultural aesthetics. This article applies the concept of oppositional capital to representations of collective identity of a radical branch of political activism within the social movement of harm reduction. Specifically, it analyzes the zine, Junkphood to describe how actors within this social movement cohort are able to present their collective identity as part of an alternative status system by drawing from an economy of signs that are generally recognized as oppositional. |
