摘要：The need to modify or discard the term subculture appears in the early nineties, mainly as a reaction to the appearance of electronic dance music and the culture springing around it. This is the very example for the thesis about the changeable and complex nature of contemporary youth cultural practices, forms and styles, which require a new perspective and analytic tools to be understood. Apart from using rave culture and various electronic music scenes as a “field” on which to question the postulates of the Birmingham interpretation of subcultures within the framework of a broader theoretical discussion about the applicability of general terms such as class, resistance, style, etc., some authors have analyzed the specific elements that constitute this microcosm by attempting to reconstruct the organizational logic, practices, motives and “feeling structures” behind this youth movement. This paper is an overview and analysis of certain post-subcultural concepts, which, from different perspectives and different theoretical positions, analyse the two most important (sub)cultural practices that define the world of electronic music and rave culture – drug consumption and dance.
