discusses above. I would further argue how, using Foucault's definition of discourse, David
Bowie's Berlin trilogy could be seen as a more influential form of discourse opposed to the
failing political discourse of the 1970’s. Foucault defines discourse as "ways of constituting
knowledge, together with the social practices, forms of subjectivity and power relations which
inhere in such knowledge and relations between them. Discourses are more than ways of
thinking and producing meaning”. It could be argued in this context that, power is knowledge
according to Foucault. This may have been what encouraged the generation of 1970’s to focus
their attention towards those challenging traditional power structures within society as opposed
to those who are in power.
Using Foucault’s theory, it could be argued that work such as Bowie’s has helped shape and
create some form of meaning within the postmodern landscape. I would argue, using
Foucault’s work on discourse, that Bowie’s work injects power into the everyday life of the
individuals who indulge in his music, thus supporting my previous examination of how Bowie’s
work was becoming an increasingly huge sphere of influence upon the generation of the 1970s.
This can be clearly seen in the way that Heroes was treated as Berlin's “anthem”, as though it
were a song that defined the Berlin of the late 1970's 11 . This rejection of the institutionalised
political discourse of the era, in favour of more radical political ideals by the post-war, punk
and post-punk generations can be seen as a form of resistance in itself. Bowie’s work and
presence in Berlin during the late 1970’s was arguably a major catalyst for changing attitudes
towards the dominant discourse of the time.
"Flashback: David Bowie Sings 'Heroes' At The Berlin Wall", Rolling Stone , 2018 [Accessed 12 March 2018]
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