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Lohman, Kirsty. "Punk lives : contesting boundaries in the Dutch punk scene". Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/75547/.
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This thesis investigates the everyday experiences of subcultural participants. It takes as its focus the Dutch punk scene, tracing its emergences and development and mapping it historically and spatially. It explores the meanings attached to punk by its participants past and present. If further situates punk as part of participants’ wider lives, in particular in their mobility, connectivity, political engagements and life choices. This thesis speaks to several areas of enquiry. It most prominently contributes to subcultural debates, as well as the emerging field of ‘punk studies’. However the research presented here also has implications for discussions of globalisation, particularly in terms of cultural flow and the effect on local scene ‘boundaries’. It further contributes to conceptual developments of political activity in a world with ever more emphasis on individualised choice. This is an ethnographic project. The arguments presented in this thesis are the result of fieldwork undertaken between July 2010 and April 2011. Data include semi-structured interviews with thirty-three participants of the Dutch punk scene, both past and present. Interview data is further contextualised with a fieldwork diary based on participant observation. As a result of this research, this thesis argues for an approach to social research that recognises the ‘messiness’ and the ‘connectedness’ of the social world. In order to unpick how punk operates and what meanings it has for members, we must understand the wider social, cultural and economic context in which subcultures – and their participants – are embedded. The thesis concludes that in order to productively conceptualise punk we must recognised the artificiality of a number of boundaries. By widening the lens of what punk is, by realising its global context, and by broadening our definition of politics, we will better understand the everyday meaning of punk to its participants around the world.
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Kallin, Linus. "Punky Reggae Party. : Ideologisk och musikalisk jämförelse av reggae och punk". Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-159332.
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Kallin, Linus. Punky Reggae Party. Ideologisk och musikalisk jämförelse av reggae och punk. C-uppsats Uppsala universitet, 2011. ABSTRACT Uppsatsens syfte är att skapa förståelse för musikstilarna reggae och punk och deras respektivesubkulturer. Detta genomförs genom att utforska deras ideologier och se hur dessa speglar sig imusiken för att sedan jämföra och analysera dem med fokus på klass och ras. Uppsatsens fokusligger på musikerna och musiken snarare än andra delar av subkulturen.Den störta likheten mellan de båda subkulturerna var motståndet mot överheten. Dettaspeglar sig i deras kläder, attityd och musik på mer eller mindre subtila sätt. De var även mycketmer klass- och rasmedvetna än de flesta andra populärmusikgenrer och subkulturer vid denna tid.Båda var relativt enkla att spela och således anpassade för folk utan lång musikalisk utbildning.Det som skiljer dem är främst musiken. Reggaens disciplinerade, bakåtlutade gung motpunkens frenetiska, spretiga skrammel. Av olika anledningar sågs genrerna som tydligt ”svarta”respektive ”vita”. Även religionens roll i subkulturen är en stor olikhet då reggaen ofta var tungtreligiös medan punken snarare var irreligiös.
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Marchetto, Sean. "Tune in, turn on, go punk, American punk counterculture, 1968-1985". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65041.pdf.
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deCourville, Nichols P. IV. "The Punk-Rock Brontes". University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1491409983719254.
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Teixeira, Aldemir Leonardo. "O movimento Punk no ABC Paulista: anjos: uma vertente radical". Pontifícia Universidade Católica de São Paulo, 2007. http://tede2.pucsp.br/handle/handle/2715.
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Previous issue date: 2007-11-05Conselho Nacional de Desenvolvimento Científico e Tecnológico
The Punk Movement emerged in the mid-1970s as one of the last anti-establishment movements. It started mainly as a musical phenomenon, the punk rock, anti-conformist protest adopted by part of the young American intellectuals and then by the British. In the beggining it was against the commercialism that rock music had submitted to, afterwards it expanded to a social, cultural and artistic movement of anti-establishment youthful challenge. It grew and radicalized within the working class, mainly in Britain, afterwards it spread across all over the world seen by authorities as a subversive culture movement. In Brazil it started in many metropolitan regions of São Paulo in which the most expressivity was observed in the center region emphasized by the media factor, and in the industrial part of ABC region where it obtained more expressive and radical ways where the movement was involved with the working and union fights accurred in the late 1970s and beggining of 1980s
O Movimento Punk surge em meados dos anos 70 como um dos últimos movimentos contraculturais. Se deu primeiramente como um fenômeno musical, o punk rock, música de protesto anti-conformista adotado por uma parcela de jovens intelectuais norte-americanos e depois ingleses. A princípio foi contra a comercialização à qual o rock havia se submetido, posteriormente se expandiu como um movimento social, cultural e artístico, de contestação juvenil anti-establishment. Cresceu e se radicalizou junto à classe operária, principalmente a inglesa, depois se proliferou para o mundo todo, visto pelas autoridades como um movimento de cultura subversiva . No Brasil o movimento radicou-se nas diversas regiões metropolitanas de São Paulo, tendo maior expressividade no centro da capital enfatizado pelo fator midiático e na região industrial do ABC, onde obteve formas mais expressivas e radicais, estando envolvido com as lutas operárias e sindicais ocorridas no final da década de 70 e início dos anos de 1980. Orientador: Dr. Edgard de Assis Carvalho - PUC
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Xiao, Jian. "Exploring punk subculture in China". Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/19562.
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This thesis explores the punk phenomenon in China. In order to examine punk members and practices, an ethnographic research was conducted in large-scale cities, such as Beijing and Shanghai, and small-scale cities, such as Wuhan and Huaihua in China, as well as on the Internet. In particular, the thesis focuses on two prominent themes subculture and resistance as the main directions of analysis. Through discussing findings from the three dimensions of the individual, collective and online, it is argued that the Chinese punk phenomenon exists as a subculture and punk subcultural practices can be regarded as manifesting forms of resistance in China. First, this study presents a detailed individual biography of one punk musician and then further examines those of other participants. It is discovered that subcultural resistance can have a different impact at different stages of a person s life. Second, this study demonstrates forms of collective practices and how they are manifested, and reveals how Chinese punk subculture members collectively produce different forms of subcultural resistance. Finally, this study examines Chinese punk online. It focuses on how online group members produce meanings of their activities and deploy specific techniques to resist online norms and censorship. Overall this thesis contributes to the ongoing discussions in current field of subcultural studies. By providing a study on punk subculture in China, the research engages empirically in the question of power relations in a society from both individual and collective levels, which has rarely been undertaken before.
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Barber-Kersovan, Alenka. "Vom "Punk-Frühling" zum "Slowenischen Frühling" der Beitrag des slowenischen Punk zur Demontage des sozialistischen Wertesystems". Hamburg Krämer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2655733&prov=M&dok_var=1&dok_ext=htm.
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Stewart, Francis Elizabeth. ""Punk rock is my religion" : an exploration of straight edge punk as a surrogate of religion". Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3441.
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Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.
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Donaghey, Jim. "Punk and anarchism : UK, Poland, Indonesia". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/22100.
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This thesis explores the relationships between punk and anarchism in the contemporary contexts of the UK, Poland, and Indonesia from an insider punk and anarchist perspective. New primary ethnographic information forms the bulk of the research, drawing on Grounded Theory Method and an engagement with Orientalism. The theoretical framework is informed by the concept of antinomy which embraces complication and contradiction and rather than attempt to smooth-out complexities, impose a simplified narrative, or construct a fanciful dialectic, the thesis examines the numerous tensions that emerge in order to critique the relationships between punk and anarchism. A key tension which runs throughout the PhD is the dismissal of punk by some anarchists. This is often couched in terms of lifestylist versus workerist anarchism, with punk being denigrated in association with the former. The case studies bring out this tension, but also significantly complicate it, and the final chapter analyses this issue in more detail to argue that punk engages with a wide spectrum of anarchisms, and that the lifestylist / workerist dichotomy is anyway false. The case studies themselves focus on themes such as anti-fascism, food sovereignty/animal rights activism, politicisation, feminism, squatting, religion, and repression. New empirical information, garnered through numerous interviews and extensive participant observation in the UK, Poland, and Indonesia, informs the thick description of the case study contexts. The theory and analysis emerge from this data, and the voice of the punks themselves is given primacy here.
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Church, Lewis Alexander. "No discipline : the post-punk polymath". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/29604.
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Lydia Lunch, David Wojnarowicz and Vaginal Davis are artists who each produced music, film, literature, performance, visual art and installation whilst participating in the subcultural communities of post-punk. This thesis frames them as post-punk polymaths, artists whose subcultural participation provides a link between their multiple artistic outputs. I position these artists in relation to the historical context of post-punk, and document its influence on both specific examples of their work and their artistic strategies more broadly. My original contribution is of a sustained process of attention to the work of these three artists that negotiates their personal antagonisms towards criticism and resistance to historicisation, the methodological challenge exemplified by their practice, and the critical potential of embracing this difficulty. Through an account of New York's post-punk scene (the formative artistic environment of both Lunch and Wojnarowicz), I examine the way the material conditions of the subculture provoked an undifferentiated, multi-media practice. I explore Lunch's work through this subcultural context, and the interrelations of her diverse outputs and intentional blurring of art and life in her public persona. Through the work of David Wojnarowicz, I explore the potential pitfalls of overdetermination, or confined articulations of his practice within popular criticism and academia. My third case study moves away from New York to focus on the work of Los Angeles post-punk artist Vaginal Davis, examining the responsibility subculturally invested artists may have in maintaining their own marginality, through a framing of Davis's practice as self-sabotaging. My thesis therefore highlights the difficulty of rationalising these practices as objects of disciplinarily constituted analysis, the problematic nature of their omission or selective and incomplete engagement, and examines the potential of the term polymath to understand artists whose work fails to map on to the disciplinary remits of academic scholars, genre critics or popular historians.
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Tiggemann, Marcel. "How Different Are Pop & Punk?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103824.
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A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.
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Jesus, Jennifer Daniela Fernandes de. ""Corpo diplomático" : punk e modificação corporal". Master's thesis, FEUC, 2015. http://hdl.handle.net/10316/28564.
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Dissertação de mestrado em Sociologia, apresentada à Faculdade de Economia da Universidade de Coimbra, sob a orientação de Paula Abreu.Esta investigação debruça-se sobre os processos de construção identitária, especificamente através do uso de marcas corporais por indivíduos que se identificam como punks em Coimbra. O objeto desta análise é o corpo modificado, através de piercings e tatuagens e a forma como estas modificações corporais remetem para a vivência e identidade punk. Assim, esta análise tem como principal foco a heterogeneidade e pluralidade de discursos sobre o corpo, produzidos por indivíduos que se identificam como punks. Por este meio, recorreu-se a um conjunto de técnicas metodológicas, numa abordagem qualitativa: entrevista e observação. Os discursos analisados a partir das entrevistas constituíram-se como fontes heurísticas para perceber os processos de construção identitária. Por outro lado, fizeram-se também observações em Repúblicas de Coimbra de modo a perceber a dinâmica do punk e do corpo. Desde o seu surgimento, a cultura punk destaca-se pela forma como os seus membros adotam o corpo como manifesto e a modificação corporal como elemento de composição do seu estilo. Assim, um dos principais focos da análise foi a procura de uma compreensão sobre os significados, as perceções e as motivações que levam indivíduos identificados com o movimento punk a marcar o corpo. Deste modo, este trabalho procura perceber como é que o punk se manifesta e orienta as perceções das marcas corporais dos indivíduos. Ou seja, como é que um ato individual e voluntário reflete e é reflexo das pertenças e identificações que os indivíduos estabelecem. Por fim, ao longo deste trabalho, sempre esteve presente o conceito de identidade a partir das considerações teóricas de Stuart Hall: considerada como fluida, fragmentada e por vezes resultante de conflitos. No entanto, a identidade, mesmo com as limitações conceptuais que lhe estão inerentes, cria uma sensação de localização e de ligação, perante os seus posicionamentos no mundo, entre o eu e a sociedade. Urge assim considerar a formação da identidade e as identificações que os indivíduos estabelecem, de forma a compreender como é que estes, se servem do corpo como veículo de afirmação identitária para si e para os outros.
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ARAUJO, R. G. "METAMORFOSES DO CINEMA PUNK (1975-1990)". Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8479.
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Previous issue date: 2016-08-19Esta pesquisa pretende analisar uma série de produções cinematográficas oriundas do ambiente punk americano e inglês, entre os anos 1975 1990, a partir de reflexões relativas a seus aspectos políticos, econômicos, estéticos e comparecimento da corporeidade punk. Busca, primeiramente, entender as relações econômicas-estéticas que percorrem a história do punk e suas manifestações, que assumem uma agenda de divergência a cultura mainstream e ao capitalismo. A dissertação procura estabelecer nexos entre cinema, elementos estéticos punks e seus compromissos a partir de filmes agrupados em três tendências: No Wave Cinema, Cinema Of Transgression e Cinema Punk Inglês, ao mesmo tempo em que confirma a inseparabilidade entre politica, economia e estética, considerando que essas obras cinematográficas tornam possível o acesso à experiência do punk ainda de um ponto de vista atual. Para isso, são importantes autores como Stacy Thompson, Jacques Rancière, Walter Benjamin, Gilles Deleuze e Félix Guattari, que ajudarão na articulação teórica dessas concepções. Nesse mesmo sentido, através de contribuições de David Le Breton, Jim Ellis e Nízia Villaça o trabalho tem a intenção de evidenciar as possíveis estratégias de utilização do corpo como suporte simbólico cinematográfico e no movimento punk.Palavras-chave: Cinema Punk, Punk, Economia, Faça Você Mesmo, Estética, Subcultura.
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Milani, Marco Antonio. "Uma leitura vertiginosa : os fanzines punks no Brasil e o discurso da união e conscientização : (1981-1995) /". Assis, 2015. http://hdl.handle.net/11449/124457.
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Orientador: Helio Rebello Cardoso JuniorBanca: Karina Anhezini de Araujo
Banca: Clóvis Gruner
Resumo: A emergência do punk no Brasil se deu em finais da ditadura militar tornando, para esse grupo de jovens, fundamentais os acontecimentos referentes à redemocratização, a Assembleia Constituinte e as eleições diretas. Não obstante, a nova democracia deu espaço a organizações políticas das mais diversas, as quais passaram a fazer parte do cotidiano dos brasileiros. Tais acontecimentos foram indispensáveis aos fanzines, que se empenharam em debatê-los e que, por vezes, buscaram neles inspiração para sua forma material e discursiva. Dessa maneira, os fanzines punks manifestam a bricolagem, inerente à estética punk, como eixo de suas práticas de leitura e práticas discursivas. Através de colagens de excertos de outros impressos, os fanzines subvertiam os sentidos iniciais dos recortes que empregavam inserindo-os nesses suportes de leitura de aparência confusa, que obrigam o leitor a divagar seus olhos pelas páginas. Não por acaso, eles fizeram parte da forma discursiva igualmente confusa e entrecortada, de difícil compreensão ao público externo ao punk, que se empenhou em restringir a violência interna do grupo e a representá-lo como um agente engajado na transformação do país e do mundo. Trata-se do discurso aqui denominado união e conscientização.
Abstract: The development of punk in Brazil happened by the end of the military dictatorship. It made essential, to this group of young people, the events concerning the redemocratization of the Constituent Assembly and the direct elections. However, this new democracy gave room to many different political organizations that became part of the Brazilian daily life. Such events were essential to fanzines, that made efforts to discuss them and, sometimes, looked into them for inspiration to their material and discursive form. Thus, punk fanzines manifest the concept of bricolage, inherent of the punk esthetics, as the axis of its discursive and reading practices. Through the collage of excerpts of other prints, fanzines subverted the original meanings of the cutouts they used, inserting them in reading supports of confuse appearance, making the reader divagate along the pages. Not coincidentally, they were part of a discursive form that sounded confuse and truncated, hard to understand for the public outside the punk subculture. This discourse made efforts in restricting the internal violence of the group and represent it as an agent committed to transforming the country and the world. Such discourse was named union and awareness.
Mestre
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Traulsen, Andrew. "More than music :". [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/107.
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Ashton-Smith, Alan. "Gypsy punk : towards a new immigrant music". Thesis, Birkbeck (University of London), 2013. http://bbktheses.da.ulcc.ac.uk/29/.
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The musical genre of Gypsy Punk, in which the most significant contributions have been made by the multi-‐ethnic band Gogol Bordello, may appear to be simply a composite of the two elements that make up its name – ‘gypsy’ and ‘punk’. But a closer investigation reveals that Gogol Bordello are in fact engaging with a broader cultural palette, and challenged established perceptions. The figure of the ‘gypsy’ is important to the genre, but it is essential that the implications of this word are understood in order to fully grasp its significance. In addition to influences from punk and cabaret, the Balkans, and the ways in which this region has been perceived from outside, also have a bearing on Gypsy Punk. Yet none of the musicians who make up Gogol Bordello can be described as either ‘gypsy’ or Balkan, and therefore the outward presentation of the band does not reveal the significance of Gypsy Punk. This can be better understood through an examination of Gogol Bordello’s use of myth – a Gypsy Punk mythology is created not only through their music, but also through iconography, performance, and the band’s manifesto. In addition, extant myths, such as those that surround the Roma and the Balkans, are subverted in their work. However, it is the mythology of immigration that is in many ways most important to Gypsy Punk. The immigrant experiences of Gogol Bordello’s members, and the immigrant figures that appear in their work are particularly relevant in that they reflect contemporary global society. Gypsy Punk transcends the established idea of ‘gypsy’ music and functions as what I describe as an immigrant music. The mythologies that Gogol Bordello engage with serve as windows through which immigrant music can be seen and comprehended as a music with particular relevance today.
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O'Shea, Megan A. "Anthropological reflections on tattoos amongst punk women". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1701.
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University of Central Florida College of Sciences Honors thesisThe relationship between identity and tattooing regarding female members of the punk community has not been fully explored by the academic community. Through the exploration of the anthropological history of tattoos as markers of identity, the pro-social aspects of this form of body modification can be illustrated. Placing emphasis on punk women, tattoos are shown to positively affect individual identity and reinforce social bonds. The pioneering nature of punk music and the outright rejection of cultural norms creates an atmosphere in which women can more adequately express their identity through the use of body modification. In this open environment where societal norms regarding body modification are rebuked, tattoos are also used to reinforce social bonds amongst those willing to permanently display their dedication to a non-mainstream aesthetic.
Bachelors
Sciences
Anthropology
42 p.
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Hui, Alan. "“Can Daft Punk Play At My House?”". Thesis, Department of Media and Communications, 2010. http://hdl.handle.net/2123/5867.
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This thesis analyses and discusses the tensions between sampling and copyright by posing the question: ‘Can Daft Punk Play At My House?'. It examines one particular case of music sampling - the Soulwax Shibuya Re-remix of LCD Soundsystem’s Daft Punk Is Playing At My House to consider the ways in which copyright views sampling as infringement and to what extent copyright can subsist in a work of sampling. Following Chapter One on methodology, Chapter Two reviews the relevant legal, cultural studies and media studies literature to consider how sampling further challenges the copyright’s assumptions about author. Chapter Two demonstrates how sampling further challenges legal assumptions of what is a work and who is an author, and threshold tests, based on the concepts of originality, the idea-expression dichotomy and substantiality. It finds that the application of these assumptions and tests restrict the creative practice of sampling. Chapter Three presents examines the case study recording through the interpretations of music commentators and brothers Stephen and David Dewaele, two of the four members of Soulwax. It also examines the case study through further interpretations of the case study by four relevant experts in the musical and legal fields, the subjects of primary interview research. Chapter Three finds that with the exception of the Licensing Manager’s view, all other interviewees, commentators and artists recognise the cumulative, creative contribution of Soulwax’s sampling over and above its reproduction of .prior work by LCD Soundsystem, Daft Punk and other artists. It further finds by signing a contract with EMI, Soulwax gains access works for sampling but loses control of the rights in its Re-remixes. Chapter Four discusses the shortcomings of existing music industry licensing and contractual agreements, analyses prospective solutions and identifies future challenges. Chapter Four shows that the application of copyright law, based on the problematic assumptions about the author discussed in Chapters Two and Three, and industry practice of sampling clearance, discussed in Chapter Three, contribute to the tragedy of the anti-commons. It further shows by entering into contracts with copyright owners, who are often not creators or authors, artists make this tragedy perpetual. It argues that a number of prospective solutions, particularly, Creative Commons and recognition of transformative works, under a fair use doctrine or a compulsory licensing system, make some progress to avoiding this tragedy. It identifies extreme sampling that stretches the threshold of recognisability and the sampling of oral cultures as future challenges for sampling and copyright.
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Macune, Emily. "Uncovering Alice Bag: An Alternative Punk History". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1242.
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The intention of this thesis is to provide an alternative counter-narrative to the mainstream histories of punk that center white men. By focusing on the contributions of fem queer and POC punks, I aim to legitimize punk music as a form of resistance against systems of oppression that are oppositional to the commodified forms of mainstream punk. Using Alice Bag, as my central case study as a fem queer punk that is often left out of punk historical narratives, I contextualize her work through feminist, queer, and media studies lenses to bridge the gap between academia and forgotten personal experience.
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Barcellos, Jefferson Alves de. "Música e imagem: o movimento punk e seus desdobramentos - década de 1990". Pontifícia Universidade Católica de São Paulo, 2008. http://tede2.pucsp.br/handle/handle/2798.
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Previous issue date: 2008-05-26The Social Sciences dedicate attention on studying the youth as a new bias on the construction of identities (Hall, 1999) in different formats and as a continuous process that occurs at a daily manner. The present work tends to understand and punctuate specific points on the modification of musical genders on a historical and bibliographic way, with a profound study of the new musicality and its insertion on the youth universe. The first musical chords of the American black music were considered, such as its influences, at a first moment identifying the artists that dedicated their work to this new musical possibility and at a second moment, to the new visual possibilities that were presented during the route of this change. The present work takes on a photographic bias to identify and punctuate the different musical style modifications, following, at a first glance, the changes at the North American scenario and secondly, on the English ground. On this second moment, this dissertation points out the changes occurred on musical aspects and through the analyses of images and photography of the 60´s, showing later that at a punctual way these changes occurred simultaneously at the USA and England, culminating on the consolidation of a new musical and visual style, which was called the Punk Culture. Considering the music and photography as a basis for a permanent dialogue, an ethnographic research was conducted at the city of Ribeirão Preto, considering the musical scenario at the 90´s and the actuation of the present researcher on the punk music movement of the city. This work of investigation and identification also traces a comparison with the present day and identifies a visual and musical scenario with the influence of the punk movement on the city at the present day (2007)
As Ciências Sociais dedicam-se cada dia mais com o estudo da juventude como um novo viés para a construção de identidades (HALL, 1999). Essas identificações têm vários formatos e acontecem de maneira cotidiana das maneiras mais distintas. Esse trabalho visa, através de um mapeamento histórico e bibliográfico, entender e pontuar alguns pontos específicos de mudanças de gêneros musicais. Para tanto, se valeu de um estudo profundo de novas musicalidades e sua profunda inserção no universo juvenil. Partindo do levantamento dos primeiros acordes musicais, que fizeram da música negra americana, no início do século vinte, o começo para o grande destaque que o rock têm nos dias atuais, incluindo suas maneiras e influências, chegou-se ao punk moderno, representante direto da rebeldia juvenil. Num primeiro momento, a dissertação preocupo-se em identificar os artistas que se dedicavam a essa nova possibilidade sonora; posteriormente, verificou-se as novas possibilidades visuais que se apresentam na trajetória dessa mudança. O trabalho aproveita de um viés fotográfico para identificar e pontuar as mudanças de fase, percorrendo das mudanças sociais em solo norte-americano, para o surgimento de um novo modo de fazer música em terras Inglesas. Neste segundo momento, essa dissertação aponta as mudanças ocorridas nos aspectos musicais, colocados através das músicas e de análises fotográficas na década de 1960, já simultaneamente nos Estados Unidos e Inglaterra para, depois, de maneira pontual, identificar e pontuar a consolidação de uma cena musical comum e emergente nos dois países. É o que veio a consolidar-se como estética Punk, contemplando música e visual. Tendo o trabalho todo como base a música e a fotografia, criando com isso um diálogo permanente, foi realizada uma pesquisa etnográfica na cidade de Ribeirão Preto, tendo como base os anos 1990 e a atuação do pesquisador no movimento Punk da cidade. O trabalho de investigação e identificação traça uma comparação com os dias atuais, identificando também uma cena visual e musical com influências da música e do visual Punk na cidade nos dias atuais (2007) encerrando, com isso, a análise desse trabalho
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Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.
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In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.
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Svensson, Dennis. "We´re not into music, we´re into chaos : En komparativ studie om den brittiska och svenska punkkulturens identitetsskapande". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-26960.
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Musik har i århundraden varit ett uttryck för mänskliga förhållanden och relationer i samhället. Denna uppsats behandlar den brittiska och svenska punkkulturens identitetsskapande under slutet av 1970-talet. Tidigare forskning tyder på att 1970-talets punkvåg var en svårtolkad rörelse, vars attityder och aktiviteter än idag betraktas som ambivalenta av forskare runt om i världen. Huruvida punkkulturen var vänster- eller högerpolitisk, liksom sexistisk eller feministisk, är en komplex fråga. Genom att granska de båda ländernas två främsta, mest inflytelserika punkbands texter, med fokus på politik, etablissemang, upproriskhet, utsatthet och genus, skapas förståelse för budskapen som formade punkidentiteten. The Clash och Sex Pistols var de två största punkbanden i Storbritannien under 1970- talet. De motsvarande svenska banden var Ebba Grön och KSMB. Uppsatsen utgår från två frågeställningar: Vilka identitetsskapande budskap förmedlade banden genom sina låttexter? Kan man urskönja någon skillnad i förmedlingen mellan länderna?, och kombinerar den kvalitativa och kvantitativa metoden. Studiens främsta resultat är att den brittiska punkkulturen identifierade sig som upprorisk och antiauktoritär, i likhet med anarkismens ideal. Den svenska punkidentiteten formades av ett större politiskt intresse och en större politisk medvetenhet. De kulturella skillnaderna mellan länderna har haft stor betydelse för nationernas punkkulturer, där upplevelsen av utanförskap är gemensamt men beskrivs olika. Gängtillhörighet, ofta kopplat till olika etniciteter, beskrivs av de brittiska punkbanden som den största faktorn till utanförskap. Enligt de svenska punkbanden är bosatthet i förorten den största faktorn till segregation.
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Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008". Electronic version, 2009. http://hdl.handle.net/2100/981.
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Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.
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Oliveira, Bruno Pereira de. "A cultura punk e o underground: um estudo no cenário de duas cidades do interior paulista". Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2737.
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Previous issue date: 2014-08-26This essay is the result of the analysis of history fragments and Punk culture, as well as some artistic productions by the members of this movement, as zines and musics utilized by the Punks to defend their ideals and to establish its position before a hegemonic culture imposed on then. The productions analysed are the main sources of data for the fulfillment of this research, because the sources selected allow for an analysis considering the proximity between the Punk culture and the Underground scene from some similarities found during the research, as the influence of the Counterculture and the fight before the imposed standards. With the intention to elaborate a bibliographic review, considering the possible relations between the Punk movement and the Underground, being these elements present in most urban centers, this research is directed to two cities from São Paulo inland, Atibaia and Bragança Paulista, each one with its own culture and behavior. In this essay other movements besides the Punk are cited merely as comparative elements, because the Punk movement, its Underground component allies and all it's set of practices and actions, provide the minimally necessary data for the analysis of the proximity between the Punk culture and the Underground.
Esta dissertação é o resultado da análise de fragmentos da história e da cultura Punk, assim como algumas produções artísticas dos membros desse movimento, como zines e músicas utilizados pelos punks para defender seus ideais e marcar sua posição perante uma cultura hegemônica imposta sobre eles. As produções analisadas constituem as principais fontes de dados para a realização desta pesquisa, pois as fontes selecionadas permitiram realizar uma análise considerando as proximidades entre a cultura Punk e o meio Underground a partir de algumas similaridades encontradas durante a pesquisa, como a influência da Contracultura e do enfrentamento perante determinados padrões impostos. Com o intuito de elaborar uma revisão bibliográfica, considerando as possíveis relações entre o movimento Punk e o Underground, sendo esses elementos presentes em boa parte dos centros urbanos, direcionamos a pesquisa para duas cidades do interior de São Paulo, Atibaia e Bragança Paulista, cada uma com sua cultura e costumes. Nesta dissertação outros movimentos além do Punk, são utilizados meramente como elementos comparativos, pois o movimento Punk, aliado dos componentes do Underground, e todo seu conjunto de práticas e ações, fornecem os dados minimamente necessários para a análise da aproximação entre a cultura Punk e o Underground.
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Bodansky, Rachel L. "Rebel Girls: Feminist Punk for a New Generation". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/199.
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This thesis examines the Riot Grrrl bands of the 1990s, as well as Amanda Palmer today, as examples of feminist punk artists. Rather than focusing on Riot Grrrl as a unique musical episode, this thesis argues that all punk is activist in nature, and that Riot Grrrl was building on this activist tradition while challenging the misogyny implicit in punk culture. Likewise, Amanda Palmer uses similar punk strategies (such as a DIY approach to music production, and direct interaction with fans) to create political music.
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Roby, David Allen. "Bastard offspring : heavy metal, hardcore punk, and metalcore". Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1486.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Music
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Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.
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In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.
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Oliveira, Valdir da Silva. "O anarquismo no movimento punk: cidade de São Paulo (1980-1990)". Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/13025.
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Previous issue date: 2007-10-15The present work comes from my experiences and concerns with the decade of the 1980 s. When living at Parque São Rafael, a district located on the east side of São Paulo city, I had the opportunity to witness the punk movement that grew in the city. Nevertheless, what really called my attention was the little, but growing, commitment to the punk movement with anarchist ideas which were expressed by its practices and experiences. The main aim of this reasearch is to analyse, discusss and study the anarchism in the punk movement, taking into account its political, social and cultural characteristics in São Paulo city. In order to analyse it, the study is based on documents, texts, enterviews, letters, articles and fanzines published by punk members of the studied historical period. We tried to give voice and visibility to historical individuals which actively integrated the punk movement and had relation to anarchist ideas in the decade of the 1980 s. We also bared in mind that the punks are social individuals living and interacting in society. It is known that those interactions are marked by struggles, resistance and interference in their search for indentity references in the city. So our intention is to make a contribuition to the debate and discussion about anarchism in the punk movement. This study does not include conclusions but discusses the ways and interactions in the punk movement related to anarchism as they aimed at an anarchist society. That attitude is still alive in many groups called anarcho-punks which continue their protests in São Paulo
A presente dissertação partiu de minhas inquietações vivenciadas na década de 1980. Morando no Parque São Rafael, Zona Leste da cidade de São Paulo, pude presenciar, cotidianamente, a mobilização punk que emergia com força e vitalidade na cidade. No entanto, o que mais me chamava atenção era o pequeno, mas crescente, engajamento do movimento punk com o anarquismo. Manifestado em suas práticas e experiências no processo de ocupação e vivências nos espaços e territórios da cidade. O objeto de pesquisa desse trabalho é refletir, discutir e estudar o anarquismo no movimento punk, suas incursões políticas, sociais e culturais na metrópole paulistana. Para isto, utilizamos como fontes os próprios discursos dos remanescentes punks da época pesquisada, através de relatos, textos e artigos publicados nos fanzines (meio de comunicação dos punks), cartas trocadas entre os integrantes do movimento e entrevistas com punks do período abordado, onde analisamos as tensões e disputas dos punks enquanto memória de vidas e lutas. Procuramos dar voz e visibilidade aos sujeitos históricos que interagiram, vivenciaram, discutiram e refletiram sobre o anarquismo no movimento punk, na década de 1980. O campo da memória foi abordado com a compreensão de que os punks são sujeitos sociais que interagem uns com os outros e com a sociedade como um todo. Compreendendo que essas interações estão permeadas de lutas, resistências e interferências na busca de referências identitárias nos espaços urbanos da cidade. Esperamos ter contribuído para o debate, as discussões e reflexões sobre o anarquismo no movimento punk. Entretanto, esta dissertação não apresenta conclusões e sim sondagens de caminhos que interagem uns com os outros. Pois o ideal punk de uma sociedade anarquista, onde não haja nenhum tipo de dominação e exploração, ainda persiste na postura e atitude de vários grupos denominados anarco-punks que continuam seu protesto nas ruas e praças da cidade de São Paulo
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Tucker, Brian L. "Punk and the Political: The Role of Practices in Subcultural Lives". Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1226353162.
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Persson, Tommy. "De första punkackorden : En jämförelse mellan de första brittiska och svenska punklåtarna". Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3902.
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Musikgenren punk är nu över 30 år gammal. Och syftet med denna uppsats är att se likheter och skillnader mellan ett par tidiga brittiska punklåtar och ett par tidiga svenska punklåtar. Och ta reda på vad som kännetecknade det musikaliska i musikgenren. Frågorna som ställs i uppsatsen är: Vad var det i det musikaliska som kännetecknade musikgenren? Och vilka musikaliska likheter och skillnader hade den tidiga brittiska punken och den tidiga Svenska punken?För att få svar på dessa frågor så har fyra stycken musikaliska verk analyserats: Sex Pistols ”Anarchy in the UK”, The Clash ”White riot”, Ebba Grön ”Ung & sänkt” och P.F. Commando ”Svenne pop”. Metoderna som använts för detta arbete är en kvalitativ studie. Och en analys som kallas ”Gibsons elva aspekter” framarbetad av David Gibson och beskrivs i hans bok ”The art of producing- How to produce an audio project”.Studien visar att man kan finna många likheter i tidiga brittiska och tidiga svenska punkverk. Den mest framträdande likheten var attityden som banden visade mot det omgivande samhället. Texterna var hotfulla och fyllda av förakt mot etablissemanget, med ett undantag av ”Svenne pop” som visade förakt mot radio, radiolyssnare och popbanden som de inte gillade. Men detta är ett tecken på att de avskyr etablissemanget och det samhället står för också. Ytterligare en likhet var det musikaliska. Musiken var enkel, rak och mixningen lät dåligt producerad och inte riktigt färdig, och instrumenteringen var densamma i samtliga verk som analyserats nämligen: elgitarr, elbas, trummor och sång. Detta var också då det som kännetecknade ett verk ur musikalisk synpunkt ifrån genren punk under de första åren. Det viktigaste inom genren i dess födelse var inte att låta bra utan att låta och att göra saker själv.
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Partridge, Christopher Hugh. "Dub in Babylon, The Emergence and Influence of Dub Reggae with Particular Reference to British Punk and Post-Punk in the 1970s". Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486446.
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Dub reggae and the techniques associated with it have, since the late-1980s, been used widely by producers of dance and ambient music. However, the term was originally applied to a remixing technique pioneered in Jamaica as far back as 1967. Recording engineers produced reggae tracks on which the efforts of the producer were often more evident than those of the musicians - these heavily engineered tracks were termed 'versions'. The techniques used to produce versions quickly evolved into what is now known as 'dub'. The term, in this sense, arrived in 1972 and was largely the result of experiments by the recording engineer Osbourne Ruddock/King Tubby. Over the decades, not only has dub evolved, but it has done so especially in the UK. Indeed, much contemporary music, from hip hop to trance and from ambient soundscapes to experimental electronica and drum 'n' bass is indebted to the 'remix culture' principally informed by dub techniques. However, while obviously an important genre, its significance is rarely understood or acknowledged. Part One of the thesis examines the Jamaican background, necessary for understanding the cultural significance of dub, and Part Two analyses its musical, cultural and political importance for both African-Caribbean and, particularly, white communities in the United Kingdom during the late-1970s and early 1980s. Particular attention is given to the subcultures surrounding the genre, especially its relationship with Rastafarian culture the history and central beliefs ofwhich are related to reggae and examined. There is also analysis of its cultural and musicological influence on punk and post-punk, the principal political music in late-1970s Britain. Finally, moving into the period of the decline of postpunk and, indeed, British dub in the early 1980s, there will be an examination of what can be understood as the postmodern turn in dub. The principal focus of this final discussion will be the work of the most influential post-punk producer, Adrian Sherwood, who, in the late 1970s, formed several fluid musical collectives - most notably, Creation Rebel, African Head Charge, and Dub Syndicate - in order to experiment with the dub sound. These developments were enormously influential, and would eventually go on, in the 1990s, to shape the emerging rave and dance cultures. In summary, the thesis is a confluence of several lines of thought. Firstly, it provides a cultural and musical history of dub from its early days in Jamaica to the decline of post-punk in early-1980s Britain. Secondly, it examines the religio-political ideas it carried and traces .these through to the ideologies informing the subcultures of the late-1970s and, finally, to their transformation and, arguably, neutralisation in the postmodern pastiche of post-punk dub. Thirdly, with reference to these lines of thought, it looks at dub's and roots reggae's contribution to race relations in 1970s Britain. Finally, it analyses the aesthetic and arguably 'spiritual' significance of dub, looking at, for example, its foregrounding of bass and reverb. Quite simply, therefore, in demonstrating the political, cultural, spiritual, and musicological significance of dub, the thesis seeks to contribute to a revision ofits current 'unsung' position in contemporary popular music history.
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Levine, Lauren E. "Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.
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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.
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Andersson, Karin. "Svärmorsdröm goes Punk : En studie om den senmoderna människan". Thesis, Department of Social Anthropology, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-20389.
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Syftet med uppsatsen är att undersöka hur den senmoderna människans åsikter yttrar siggällande utbildning, arbete, fritidssysselsättning, resor, konsumtion och tro. Vidare vill jag undersöka ifall informanterna och deras åsikter kan kopplas samman med Mary Douglas teorier om kulturella typer och hur det yttrar sig. Jag vill även analysera om de är klassificerbara som David Brooks nyligen introducerade typ, BoBos. Slutligen vill jag undersöka huruvida mina informanter är typiska för dagens senmoderna samhälle.
Den slutsats jag kom fram till var att informanterna är typiska för dagens senmoderna samhälle och att har de karaktäristiska drag som med fördel kan hänvisas till BoBos. De är individualistiska, relativistiska och delvis paradoxala, vilket också är tydligt i deras åsikter om hur de själva kan kategoriseras som grupp.
The purpose of this study is to examine how the late modern man's opinions manifest themselves with regards to education, work, leisure, travel, consumption and faith. Furthermore, I examine whether the informants and their views may be linked to Mary Douglas's cultural theory of cultural types. I also want to analyze whether they are classifiable as David Brooks` recently introduced type, BoBos. Finally, I examine whether my informantsare typical of today's late modern society.
The conclusion I came to was that the informants are typical of today's late modern society and that they usefully can be referred to as BoBos. They are individualistic, relativistic and partly paradoxical, which is apparent in their views of themselves as being classifiable as a group.
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Michalski, Stefan. "'Anarchy in the U.K.' : an analysis of punk rock /". [Adelaide : University of Adelaide], 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arm621.pdf.
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Shahan, Cyrus Langston Richard. "Punk poetics and West German literature of the eighties". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1655.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures." Discipline: Germanic Languages; Department/School: Germanic Languages.
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Santos, Débora Gomes dos. "Vivo na cidade: a experiência urbana na cultura punk". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-31072015-102109/.
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O advento do punk assinalou um ponto de inflexão dentro do universo cultural pop. A música punk, elemento centralizador da identidade do movimento, emergiu com a proposta de romper com as tradicionais premissas de aptidão e técnica cada vez mais presentes na música de meados da década de 1970. O retorno a um desenho musical simples e visceral somado à valorização de uma realidade cotidiana ordinária trouxe para o centro da composição tanto sonoridades características das grandes cidades quanto narrativas relativas à vida no âmbito da metrópole, fazendo da música punk um potente veículo de absorção e transmissão de experiências urbanas. Assim, este trabalho explora a música como elemento catalisador de formas de apropriação e ação na dimensão da cidade e a música punk enquanto lente para a análise do fenômeno urbano, em particular pela observação de quais olhares o punk brasileiro lança sobre o espaço urbano no contexto periférico da cidade de São Paulo. Na produção das bandas punks que emergiram na cidade no início da década de 1980, período fundamentalmente marcado por um truncado processo de redemocratização, observa-se uma acentuação das questões colocadas pelo punk no plano internacional. No contexto brasileiro a linguagem agressiva do punk foi superlativada pela ânsia da juventude carente em expressar a própria experiência de crise em meio à particular complexidade da metrópole paulistana. A contundência e a densidade da música punk evidenciam, portanto, as tensões e relações tacitamente presentes no espaço da cidade a partir da percepção sensível daqueles que vivenciam seus espaços, de forma a permitir uma investigação mais complexa do fenômeno urbano.The advent of punk marked a turning point amidst the pop culture universe. Punk music, as the centralizing element of the movements identity, emerged with the proposal of breaking-up the conventions of musical expertise and technique increasingly present in rock compositions of the early 1970s. The return to a simple and visceral musical form combined with an emphasis on the dynamics of an ordinary everyday reality brought to the composition core both the particular sonorities of the great cities the general hum of the city as well as narratives of urban daily life, establishing punk music as a powerful vehicle of transmission of urban experiences. Therefore, this dissertation aims to explore music as a catalyst of different forms of urban appropriations and punk music as a specific lens for the analysis of urban phenomena, particularly by observing which questions Brazilian punk casts over the peripheral urban context of Sao Paulo, Brazil. The Brazilian punk bands that emerged in the early 1980s, a period essentially marked by an inconclusive process of political redemocratization, show a particular accent over the issues raised by international punk scenes. The Brazilian context enhanced the rudeness and aggressiveness of punk language, since it embodied an up until then unprecedented possibility for the deprived urban youth of expressing their experience of crisis amidst the complexity of São Paulos urban environment. The strength and density of punk music draw attention to the tensions and relations tacitly present in the city as they are perceived and experienced in everyday life, thus allowing a more complex investigation of the urban space.
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Silva, Rosemeiri Custódio da. "Cultura punk: signos em conflito na produção discursiva contemporânea". Universidade Estadual do Oeste do Parana, 2007. http://tede.unioeste.br:8080/tede/handle/tede/2396.
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The present research has for objective to analyze the culture punk contemporary from the speech production of punks of the city of Curitiba, adopting the method of research and exposition of Mikhail Bakhtin. In this approach it is become do a critical richnes of the studies about youth in Brazil and the movement punk. One considers of these bibliographical productions its methods, concepts and mediating results of our reflections that privilege the relations between language and society, between language and culture in its importance as historical process, social and interactive that integrates the relation I-others in the dialogue restored between speeches.
A presente pesquisa tem por objetivo analisar a cultura punk contemporânea a partir da produção discursiva de punks da cidade de Curitiba, adotando o método de pesquisa e de exposição de Mikhail Bakhtin. Nessa abordagem realiza-se a fortuna crítica dos estudos sobre juventude no Brasil e sobre o movimento punk. Considerase dessas produções bibliográficas seus métodos, conceitos e resultados mediadores de nossas reflexões que privilegiam as relações entre linguagem e sociedade, entre linguagem e cultura na sua importância como processo histórico, social e interativo que integra a relação eu-outros no dialogismo instaurado entre discursos.
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Ruggero, E. Colin. "Radical Green Populism environmental values in DIY/Punk communities /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 125 p, 2009. http://proquest.umi.com/pqdweb?did=1885562141&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Gordon, Alastair Robert. "The authentic punk : an ethnography of DiY music ethics". Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7765.
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This thesis examines how select participants came to be involved in DiY punk culture, what they do in it, and how, if they do, they exit from the culture. Underpinning this will be an ethnographic examination of how the ethics of punk informs their views of remaining authentic and what they consider to be a sell out and betrayal of these values. I illustrate how such ethics have evolved and how they inform the daily practice of two chosen DiY punk communities in Leeds and Bradford. I show how these communities reciprocally relate to each other. I ask such questions as what do the participants get out of what is often experienced as hard work and toil, particularly where it is fraught with a series of dilemmas bound up in politics, ethics, identity and integrity. I offer a grounded theory of how and what ways those involved in DiY punk authenticate themselves in their actions. This will demonstrate how and, more importantly, why DiY punks distinguish their ethical version of punk over and above what are taken as less favourable forms of punk. What happens if previous passionately held DiY beliefs are surrendered? Severe consequences follow should a participant sell out. I present an account of these and suggest that what they involve is not the clear-cut question that is sometimes assumed, either sincerely or selfrighteously.
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Lima, Jefferson. "Bob Cuspe : a representação de Angeli do Punk Paulistano na Revista Chiclete com Banana (1985-1991)". Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1451.
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Com um papel e tinta todo um mundo é representado. A proposta desta dissertação é a de refletir como as Histórias em Quadrinhos podem ser utilizadas para compreender os contextos históricos em que estão inseridas, e como os quadrinhos representam os conteúdos de seu tempo. As reflexões realizadas intentaram compreender como foram realizadas as representações do Punk durante a segunda metade da década de 1980 e início da década de 1990. Como estudo de caso foram utilizadas as revistas ¿Chiclete com Banana¿ que circularam no mercado de quadrinhos brasileiro entre 1985 e 1991. Procurei realizar uma conexão entre as HQs da revista e os espaços de cartas aos leitores e como esses dois espaços representavam as ¿comunidades de sentido¿. Foi realizada uma ponderação sobre o conceito ¿comunidades de sentido¿ em detrimento do termo ¿Tribo Urbana¿, pois ainda que ¿Tribo¿ esteja consolidado, acredito que ¿comunidade¿ acaba sendo mais pertinente a esta pesquisa. Foram realizadas análises das Histórias em Quadrinhos da ¿Chiclete¿, e de sua diagramação, que permitiram traçar uma panorama da idéia de confecção da publicação quanto underground. Por fim, analisando um conjunto de histórias do personagem ¿Bob Cuspe¿ foi traçado sua relação, e afetividade, com os ¿leitores¿ pertencentes as comunidades de sentido.
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Melão, Cesar Augusto. "O punk sob o olhar da mídia: um estudo léxico-discursivo". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-26062013-095122/.
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A mídia de massa constitui um grupo detentor de um grande poder no âmbito discursivo, uma vez que esse grupo tem acesso e pode controlar as informações que vão a público. O movimento punk, por outro lado, representa diversas minorias na sociedade e sua principal ferramenta de divulgação de ideias é a arte, principalmente a música. O discurso punk, porém, tem um alcance bastante limitado em comparação com a mídia de massa. Tendo em mente essa assimetria de poder, analisamos, nesta dissertação, o discurso da mídia em relação ao punk brasileiro. Desde sua chegada ao Brasil, o punk é alvo de várias confusões, acusações e controvérsias. Sem o mesmo destaque que teve nos anos 1980, o movimento punk, hoje em dia, não tem muita expressividade na mídia de massa. Quando ele é veiculado, em geral, é em razão de algum episódio que envolva violência física ou crimes. Em novembro de 2011 um caso de briga entre punks e neonazistas acabou com um punk morto e um neonazista gravemente ferido. Esse acontecimento teve um destaque notável na mídia, diversos periódicos e programas televisivos abordaram o assunto e até dedicaram programas inteiros para falar sobre o assunto. Esse caso serviu como recorte metodológico para compormos nosso corpus. Selecionamos textos que abordam a vida do jovem assassinado, pois vários deles tratam não só o caso do assassinato, mas também o punk como um todo. Além disso, selecionamos alguns textos da fase inicial do movimento punk para termos uma base de como ele era visto naquela época. Tendo o corpus definido, fizemos um levantamento lexical e separamos as lexias em campos semânticos, utilizando as noções sobre Léxico encontradas em Barbosa (1978), Biderman (1978) e Pottier (1975 e 1985). Analisamos esses dados à luz da abordagem triangular proposta por van Dijk (2008), segundo a qual a produção de sentido deve ser entendida de acordo com os seguintes elementos: discurso, cognição e sociedade. Além disso, utilizamos o recurso metodológico do mesmo autor, chamado de quadrado ideológico (VAN DIJK, 2005) para situar e compreender criticamente as escolhas lexicais no discurso midiático. A partir das análises dos dados obtidos, concluímos que o punk, enquanto objeto do discurso da mídia de massa, adquire um caráter bastante negativo e estereotipado. O indivíduo punk é visto como um sujeito perigoso, ligado ao crime e a situações violentas, além de ser, segundo o estereótipo criado, preconceituoso e agressivo. Entendemos que diversas informações divulgadas pela mídia são manipuladas e manipuladoras. Segundo o pensamento de van Dijk, a manipulação ocorre quando um grupo com mais poder abusa de sua posição favorável para informar as pessoas de modo parcial, isso gera uma compreensão incompleta do evento sobre o qual se fala no discurso. Apesar de não negarmos que o movimento punk manifeste-se de modo violento algumas vezes, notamos que ele, em muitos casos, é alvo de discursos manipuladores, o que gera um estereótipo majoritariamente negativo.The mass media is a group which holds a great discursive power within itself, once it has access to information that becomes public and can control it. The punk movement, on the other hand, represents several minorities in society and its main tool for the dissemination of ideas is the art, especially music. The punk discourse, however, has a very limited range in comparison with the mass media one. Thinking about that power asymmetry, we analyzed, in this thesis, the media discourse in relation to Brazilian punk. Since its arrival in Brazil, the punk movement is the target of several confusions, accusations and controversies. Without the same prominence it had in the 1980s, the punk movement, today, does not have much expressiveness in the mass media. When it is reported, in general, is due to some incident involving physical violence or crimes. In November 2011 a case of fight between punks and neo-Nazis ended up with a punk killed and seriously injured a neo-Nazi. This event had a remarkable prominence in the media; various journals and television shows have discussed the issue and even devoted entire programs to talk about it. This case served as a methodological approach to compose our corpus. We have selected texts that discuss the life the young punk murdered because many of them talk not only about the murder case, but also about punk as a whole. In addition, we selected some texts of the early punk movement to have a base as he was seen at that time. Having defined the corpus, we did a survey and separate lexical semantic fields using notions about Lexicon found in Barbosa (1978), Biderman (1978) and Pottier (1975 and 1985). We analyze these data in the light of the triangular approach proposed by van Dijk (2008), according to which the production of meaning must be understood according to the following elements: discourse, cognition and society. Furthermore, we use the methodological resource by the same author, called the ideological square (van Dijk, 2005) to locate and critically understand the lexical choices in media discourse. From the analysis of the obtained data, we conclude that the punk, as an object of discourse of the mass media, acquires a very negative and stereotypical image. The punk individual is seen as a dangerous person, linked to crime and violent situations. He/she also is, according to the created stereotype, prejudiced and aggressive. We understand that various disclosures by the media are manipulated and manipulative. According to van Dijk thought, manipulation occurs when a group with more power abuses its comfortable position to inform people partially, so it generates an incomplete understanding of the event about which it speaks in the discourse. While not denying that the punk movement manifests itself violently sometimes, we noticed that it, in many cases, is the target of manipulated speeches, which generates an overwhelmingly negative stereotype.
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Willsteed, Terence J. "It’s Not The Heat, It’s The Humidity: Developing a practice-based method for cultural history curation and dissemination". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/103847/1/Terence_Willsteed_Thesis.pdf.
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This research contributes new knowledge about the curation and presentation of cultural history. Relationships between curation and performance were tested through the development of an interdisciplinary approach to capturing, storing and sharing the histories of subcultures or scenes, and the creation of a public performance centred around the Brisbane punk and post-punk music scene. The project contributes new understanding of how public stories about popular culture can be presented while simultaneously generating new knowledge about the culture itself.
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Raposo, Ana Bastos. "30 years of agitprop : the representation of 'extreme' politics in punk and post-punk music graphics in the United Kingdom from 1978 to 2008". Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6064/.
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This research analyses the dissemination of political and ideological content through the music graphics of selected bands associated with punk and post-punk. It concentrates on the anarcho-punk movement and the neo-fascist scene in the United Kingdom between 1978 and 2008. The aim is to show how music graphics were integral to the philosophy of politically engaged bands, and acted as systems of propaganda. The research further deconstructs these systems and reveals underlying narratives, intentions, tropes and visual codes. The research presents three main novel contributions to scholarship and knowledge. The first is the creation and cataloguing of the most extensive archive to date of the material under analysis providing an instrumental resource for further research on the subject. The second is the development of a methodology for analysing the dissemination of ideological and political content through graphic design objects in a subcultural context. This methodology allows for an exploration of the heretofore neglected area of the inter-relationship between dissemination of the message and specific graphic systems. The analysis is conducted through the use of multiple research methods, drawing upon qualitative research methodologies and the development of complementary methodologies devised for the field of graphic design. The focus is on the analysis of political camps and comparisons between them, noting points of commonality and divergence between dialogues of opposition within the common subcultural context. The third contribution is the identification, analysis and interpretation of ‘extreme’ political music graphics produced by artists from the United Kingdom from 1978 to 2008. Covering an under-researched field and time span of subcultural movements that were critical for the punk subculture and the corresponding political groups, the analysis of the music graphics presents an insight into their political theory and strategies. This comparative work involved methodologies drawn from cultural studies, subcultural studies and historical studies, and can therefore be seen as a contribution to these fields as well as to that of graphic design studies.
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Wallin, Rickhard. "Varför låter det skit? "-Det är lugnt, det är punk!"". Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27298.
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Punk-musiken har fått kritik för att låta smutsig eller skräpig. Men enligt många punkfantaster är det så det ska låta, annars är det inte punk. Vad är det som gör att punken låter skräpigt, och varför? Vissa punkband som växer i popularitet får kritik om att inte längre vara punk när de byter sound, de blir mainstream enligt en del av fantasterna. Vad har soundet för betydelse för vad som är punk och inte? Syftet med undersökningen är att få en djupare förståelse för punkens sound. Dessutom undersöks vad soundet har för betydelse för skillnaden mellan vad som är "riktig punk" och vad som är mainstream. Tidigare forskning tar upp kulturella och tekniska aspekter som påverkar och formar punkens sound, såsom; DIY-kulturen, inspelningsmetod i studio, tekniska begränsningar, och producentrollens påverkan på soundet. Även skillnaden mellan riktig punk och mainstreampunk beskrivs. Teoriavsnittet tar upp teorier om begreppet "noise" och hur det används för att förklara hur individer uppfattar ljudideal. Gullös (2010) tredimensionella modell för musikproduktion används för att förklara producenters beteenden och ageranden under produktion. Kvalitativa intervjuer har använts som metod för att studera respondenternas resonemang och tankar kring punkens sound på ett djupare och friare sätt. Resultatet av intervjuerna genomgår sedan en analytisk fas där teori tillämpas för att uppnå svar på forskningsfrågorna. Analysen visar att punkens rötter är det som formar punkens sound, dvs; tekniska begränsningar och enkla inspelningsmetoder, vilket tillhör en äldre tid som många fantaster gärna förhåller sig till. Hur man förhåller sig till rötterna beror på hur viktiga de är för individen. Punken utvecklas likt all annan musik, och det gör även människans uppfattning av musik som därav skapar nya sorters sound hos punken. Bandet själva styr vilket sound de vill ha. Punkband som ändrar sound kan ibland ses som mainstream då fansen inte längre känner igen soundet eller genren. Det finns ingredienser som behövs för att punk ska vara punk, dock är det individuellt om vad man relaterar till och ser som punk, alltså finns det mer än bara punkens sound som avgör om vad som är riktig punk eller mainstream.
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Heron, Timothy. ""Alternative Ulster" : le punk en Irlande du Nord (1976-1983)". Thesis, Reims, 2017. http://www.theses.fr/2017REIML004/document.
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En 1976, le phénomène punk surgit à Londres, semble remettre en cause certains des codes sociaux et des normes culturelles la société britannique, et est le sujet d’une « panique morale ». La même année, en Irlande du Nord, 297 personnes sont tuées à cause du conflit. Les Sex Pistols invoquent l’anarchie dans leurs textes, mais pour les nord-irlandais, « Anarchy in the UK » est bien plus qu’une chanson : il s’agit de leur quotidien. Pourtant, alors que le conflit fait rage, alors que protestants et catholiques restent cantonnés dans leurs quartiers respectifs, des centaines de jeunes issus de deux communautés que tout semble opposer se retrouvent semaine après semaine dans les mêmes lieux pour partager une passion commune : celle du punk rock. Quelles sont les spécificités que présentent le punk en Irlande du Nord ? Quel impact ce phénomène de culture populaire a-t-il sur les pratiques des jeunes Nord-Irlandais qui participent à cette scène et à cette subculture alors que le conflit bat son plein ? Quels mécanismes permettent aux punks d’imaginer et d’incarner une « Alternative Ulster » ? Afin d’apporter des réponses à ces questions, le présent travail s’attache à retracer l’émergence de la scène punk nord-irlandaise (1976-1983), à analyser les manières dont sont « pratiqués » les lieux sur lesquels elle repose, à interroger l’importance de la tenue et du corps punk et, finalement, à mettre en lumière les thématiques qui traversent la chanson punkIn 1976, punk took the United Kingdom by surprise, and for one brief moment, challenged some of the cultural and social assumptions of British society, shocking public opinion and causing an outbreak of moral panic in its wake. The Sex Pistols could sing about it, but for people living in Northern Ireland, “Anarchy in the UK” was more than just a song, it was what they experienced in their everyday lives. Yet, while the conflict raged on, and at a time when cross-community contact had become uncommon, a minority of the North’s youth turned to punk. These young Catholics and Protestants ignored their political and religious differences and met up in streets and record shops during the day, and at night crowded into the few bars and pubs that allowed punk bands to play. What specific features did Northern Ireland punk display? What impact did this popular culture phenomenon have on the practices of the young participants who took part in this scene and subculture in the midst of the “Troubles”? What mechanisms enabled punks to imagine and embody an “Alternative Ulster”? In order to find answers to these questions, we will provide an account of the emergence of the punk scene in Northern Ireland (1976-1983), analyse the ways in which its spaces were “practiced”, examine the importance of punk dress and, finally, explore the themes which appear in punk rock songs
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Turra, Neto Nécio [UNESP]. "Enterrado, mas ainda vivo!: identidade punk e território em Londrina". Universidade Estadual Paulista (UNESP), 2001. http://hdl.handle.net/11449/89832.
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turraneto_n_me_prud.pdf: 7818536 bytes, checksum: 5960fb67475b7247913ecea2f1f429cd (MD5)O presente trabalho traz um estudo da cultura punk e de seu território na cidade de Londrina – Pr. Através da metodologia da observação participante, o autor adentrou no universo do movimento e compartilhou com seus membros sete meses de sua história. Esta história é contada no trabalho e, a partir dela, o autor constrói sua argumentação sobre a questão da identidade cultural punk e sua territorialidade.
This paper is a study of the punk culture and its territory in the city of Londrina – Paraná, Brazil. Through the methodology of participant observation, the author thoothed in the universe of the movement and acompanied with its members seven months of its history. This history is reported in this paper and, with it, the author structures his argumentation about the question of the punk identity and its territory.
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Harvey, Paul. "Stuckism, punk attitude and fine art practice : parallels and similarities". Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/8431/.
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My doctoral project, researched between 2006 And 2011, asks if the rapidly expanding art movement known as Stuckism has an approach that can be related to Punk ‘attitude’ in the late 1970s. Theorists of youth-based subcultures have extensively explored the notion of generational attitude (Hebdige 1979, Sabin, 1999) and the ambition of this PhD has been, from the start, to describe the development of Stuckism in terms associated with the rise of Punk within my own generation. As an active member of the original Stuckist group I have had to engage with the same sense of iconoclastic hostility that played such an important role during my time as a Punk musician from 1977 to the present. Thus the research I discuss in this thesis has been shaped by a set of aims and objectives that, firstly, address the similarities and parallels between two distinct historical moments and, secondly, embrace the fact that I am undertaking my research from within the subject group as it coheres into a viable force in the international arts scene. The parallel between Punk and Stuckism may not be immediately obvious for historians or critics. Both are separated in time as distinct episodes in our current cultural story (Bech Poulson, 2005; Evans, 2000) and both are associated with different art forms that address contrasting socio-cultural audiences. Whilst Punk operated, first and foremost, in the context of popular music, Stuckism is a creature of the visual arts, a response to dominant trends amongst gallery and museum directors rather than an appeal to radicalized, media-oriented youth. However, I am not able to examine this contrast from a retrospective point of view and so have built my methodological approach on the hope that the ‘narrative turn’ in contemporary social studies and cultural anthropology (Marcus & Fischer, 1984) offers me a persuasive mechanism for capturing the ongoing development of my practice as a painter with Stuckist and Punk affiliations. As my creative activities have contributed to the idea of Stuckism I have explored how the narratives of identity I associate with Punk attitude have helped form the identity of the group. Here my initial model was research on the narrative construction of identity in professional or social domains described by Czarniawska (2004). However, as I accumulated and published accounts of Stuckism using my growing archive of interviews with other artists in the group (Lynn, 2006) I began to use methodological procedures suggested by Ochs & Capps (2001) to develop a system of interpretation that drew out, I felt, many commonalities with the Punk movement. As a result, my thesis both describes and debates the relevance of Stuckist practice within contemporary art. At the time of writing, the movement, although prominent within media circles, is barely represented in terms of serious and considered debate, whereas Punk is, in many ways, over represented. My ultimate ambition has been to address this situation.
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Fernandes, Walisson Pereira. "Straight edge: uma genealogia das condutas na encruzilhada do punk". Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2512.
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Straight edge is the word used to describe persons who, in their everyday lives, are allied to the punk to not use substances considered addictive as alcohol, tobacco and psychoactive. Its beginnings derive from the late 1970s and early 1980s in the United States. However, the genealogical analysis of their practices through the centuries, going back to abstainers movements of the United States and England between the nineteenth and twentieth centuries and its ballast in the formation of moral, instilling in policy that determine behavior. With the emergence of punk in the 1970s as criticism of moralism, society and the state, the straight edge emerges in this context bringing a punk hygiene and, over the years, has become more violent and reductionist, emancipating itself from protoform and pouring a new ways to build and to solidify. The straight edge approached the environmental movements, looking to list anarchist aspects in their practice, but only reiterated other political forms that are linked more to progressivism that, in fact, to anarchism. In this purpose, several straight edgers who sought anarchism as a way of life, broke with the straight edge to proceed their libertarian path, and kept at the same time, the practical abstainers without the use of the nomenclature that identified previously. In Brazil, similar to what happened in the United States and Europe, the intensification of the straight edge scene brought also the anarchist cells of eruption for the construction of a group of vegan orientation appropriating an anarchist nomenclature for its consolidation among young libertarians causing not only the bedlam among their peers, but catches of anarchism and punk
Straight edge é a palavra utilizada para descrever os sujeitos que, em suas vidas cotidianas, aliam-se ao punk de modo a não utilizarem substâncias consideradas viciantes, como álcool, tabaco e psicoativos. Seus começos derivam do final da década de 1970 e começo da década de 1980 nos Estados Unidos. No entanto, a análise genealógica de suas práticas atravessa os séculos, remontando aos movimentos abstêmios dos Estados Unidos e da Inglaterra entre os séculos XIX e XX e seu lastro na formação da moral, infundindo na elaboração de políticas que determinariam condutas. Com o surgimento do punk na década de 1970 como crítica aos moralismos, à sociedade e ao Estado, o straight edge emerge neste contexto trazendo uma higienização do punk e, com o passar dos anos, se tornou mais violento e reducionista, desvinculando-se de sua protoforma e vertendo novos meios para se construir e se solidificar. O straight edge aproximou-se dos movimentos ambientalistas, procurando elencar aspectos anarquistas em sua prática, mas reiterou apenas outras formas políticas que vinculam-se mais a progressismos que, de fato, aos anarquismos. Neste intento, vários straight edgers que procuraram os anarquismos como forma de vida, romperam com o straight edge para dar prosseguimento a sua trajetória libertária, e mantiveram, ao mesmo tempo, as práticas abstêmias sem o uso da nomenclatura que os identificava anteriormente. No Brasil, semelhantemente ao ocorrido nos Estados Unidos e na Europa, a intensificação da cena straight edge trouxe, ainda, o irrompimento de células anarquistas para a construção de um grupo de orientação vegana apropriando-se de uma nomenclatura anarquista para sua consolidação entre jovens libertários, causando não apenas a balbúrdia entre seus pares, mas capturas dos anarquismos e do punk
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Turra, Neto Nécio. "Enterrado, mas ainda vivo! : identidade punk e território em Londrina /". Presidente Prudente : [s.n.], 2001. http://hdl.handle.net/11449/89832.
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Orientador: Maria Encarnação Beltrão SpositoResumo: O presente trabalho traz um estudo da cultura punk e de seu território na cidade de Londrina - Pr. Através da metodologia da observação participante, o autor adentrou no universo do movimento e compartilhou com seus membros sete meses de sua história. Esta história é contada no trabalho e, a partir dela, o autor constrói sua argumentação sobre a questão da identidade cultural punk e sua territorialidade.
Abstract: This paper is a study of the punk culture and its territory in the city of Londrina - Paraná, Brazil. Through the methodology of participant observation, the author thoothed in the universe of the movement and acompanied with its members seven months of its history. This history is reported in this paper and, with it, the author structures his argumentation about the question of the punk identity and its territory.
Mestre
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Pereira, Angélica Silvana. "Somos expressão, não subversão! : a gurizada punk em Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/8590.
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Esta Dissertação tem como objetivo discutir as diversas tramas narrativas pelas quais jovens ditos punks narram si mesmos, narram os outros e como são narrados em diversos espaços sociais de Porto Alegre. Tais sujeitos se encontram em espaços públicos da cidade, partilhando e atribuindo significados às suas práticas, através de vestimentas, músicas, bandas e diversos materiais que produzem por e para jovens punks de diversos lugares do mundo. Esses materiais, bem como as histórias contadas por alguns desses jovens, evidenciam diferentes posições de sujeito que ocupam, a partir dos lugares e dos papéis sociais que assumem. Os caminhos teóricometodológicos para esse estudo foram calcados no campo teórico dos Estudos Culturais e na etnografia pós-moderna, tendo nos diários de campo sua base para a construção de dados, além de conversas transcritas, textos de fanzines e imagens. Nas análises, focalizei os modos como tais jovens são representados nas narrativas de si mesmos e dos ‘outros’ acerca do ser/estar punk em Porto Alegre hoje, ano de 2006. Analisei também os pertencimentos dos jovens ao movimento punk, através dos processos de identificação pelos quais constituem suas identidades. Observou-se que através das práticas culturais específicas da cultura punk os jovens com os quais estive em contato se constituem como sujeitos, pertencendo ao grupo. A idéia de que é possível revolucionar o mundo a partir de transgressões às ‘ordens’ sociais pode ser entendida como uma oferta identitária para esses jovens. Observaram-se ainda diversos modos de ser/estar punk hoje em Porto Alegre, os quais são produzidos por um estado da cultura chamado de condição pós-moderna.This dissertation aims to discuss narrative plots, which young people use to narrate themselves, narrate the others and how they are narrated in many different social places in Porto Alegre. These characters are found in public places of the city, sharing and giving sense to their practices, through feelings, songs, bands and various materials that they produce to and for young punks from lots of places in the world. These materials, as also the stories told by some of these young people, make evident different roles that they play as character, from the places and social roles they are part in. The theoric-methodological ways to this study were based on theoric field of Cultural Studies and in postmodern ethnography. It also had in dailies of field its base to data construction, besides transcript chats, passages of fãzines and images. In the analysis, I focused the way as these young people are represented in narratives about themselves and about “the others” concerning to to/be punk in Porto Alegre today, in 2006. I also made an analysis about belonging of young people who make part in punk moviment, through process of identification they use to create their identities. We could observe that young people with whom I made contact can make themselves being characters, belonging to the group, through specific cultural practices of punk culture. The idea about the possibility of revolutionizing the world from transgressions to social orders can be understood as a way of having identity. Still, several ways of to/be nowadays in Porto Alegre, which are producted by a state of culture called postmodern condition, were observed.