This article enquires into the discursive and affective texture of the intersections of popular culture and left/feminist politics in the current Anglo-American context. It does this primarily via a contextual reading of the recent work of Welsh/Greek pop singer Marina Diamandis (who performs under the mononym ‘Marina’), especially her 2021 single entitled ‘Purge the Poison’. Building on Sarah Banet-Weiser’s work on popular feminism, I suggest that recent years have seen the emergence within popular and commercial culture of a ‘popular left politics’ which includes – but is not limited to – popular feminism. I argue that Marina’s work – as well as its reception from fans and critics – can help us identify several constitutive features of what I call the cultural grammar of popular left politics. These include, first, a conception of knowledge as linked to the revelation of truth grounded in identity and experience; second, a projection of purity and perfectionism of self and, third, a projection of complicity onto others. I further suggest – drawing in particular on Akane Kanai’s recent work – that these features of the cultural grammar of popular left politics are testament to the centrality of neoliberalism in shaping the discursive, affective and subjective character of even ostensibly anti-neoliberal forms of politics and culture. Furthermore, in contrast to the familiar argument that neoliberalism blunts or co-opts oppositional discourses, I suggest that, in the current conjuncture, explicitly and overtly anti-neoliberal discourses are sometimes afforded a certain cachet and visibility, so long as the cultural grammar they adopt aligns with the competitive and individualistic logics of neoliberal hegemony.
CORE (COnnecting REpositories)
CORE (COnnecting REpositories)