The fanzine Resistencia, began to be published in Buenos Aires in December 1984, a year after Argentina’s return to democracy. The fanzine served as the main tool for spreading punk radicality for ...over a decade alongside pamphlets and the lyrical corpus produced by the Buenos Aires punk scene’s participants. The relevance of Resistencia, as a genuine cultural counter-archive, lies in its critical content and proposals for sociopolitical change framed by radical discourses. Stemming from the raw social nihilism inherited from its early phase during the military dictatorship, the punk scene becomes increasingly politicized through discourses fueled by anarchism. In addition to criticizing repressive practices that linger from the dictatorship, Resistencia progressively sought to articulate a focus on intersectional struggle, intertwining feminism, anti-racism, anti-homophobia, environmentalism, and anti-speciesism to provide readers with a more holistic view of systems of domination. Based on an analysis of the fanzine Resistencia, this article highlights the processes of ideological transformation and the embodiment of intersectional discourses in a context marked by the resurgence of democracy and the ghosts of the military dictatorship.
El fanzine Resistencia, publicado en Buenos Aires a partir de diciembre del 1984, al año del retorno a la democracia, constituye durante más de una década la principal herramienta de difusión de una radicalidad punk, junto a los panfletos y el corpus letrístico producidos por los actores de la escena punk de Buenos Aires. Verdadero contra-archivo cultural, su pertinencia reside en su contenido crítico y sus propuestas de cambio sociopolítico enmarcados por discursos interseccionales en desarrollo. A partir del crudo nihilismo social heredado de una fase inicial en tiempos de dictadura militar, la escena se va politizando a través de los discursos nutridos por el anarquismo. Además, de una crítica a las prácticas represivas remanentes de la dictadura, Resistencia propone articular progresivamente un foco de lucha de índole interseccional, entrecruzando feminismo, antirracismo, anti-homofobia, ecologismo, anti-especismo, para ofrecer a los lectores una visión más holista de los sistemas de dominación.
Este artículo pone en evidencia a partir de un análisis del fanzine Resistencia los procesos de transformación ideológica y la materialización de discursos teñidos de interseccionalidad en un contexto marcado por la reemergencia democrática y los fantasmas de la dictadura militar.
This unique book explores how the aesthetic and cultural movement "Steampunk" persuades audiences and wins new acolytes. Steampunk is an aesthetic style grounded in the Victorian era, in clothing and ...accoutrements modeled on a heightened and hyper-extended age of steam. In addition to its modeling of attire and other symbolic trappings, what is most distinctive is its adherents' use of a machined aesthetic based on steam engines and early electrical machinery: gears, pistons, shafts, wheels, induction motors, clockwork and so forth.
The aesthetic was first articulated in literature in the works of Jules Verne and H. G. Wells. The American West later contributed images to the aesthetic--revolvers, locomotives, and rifles of the late nineteenth century. Among young people steampunk has found common aesthetic cause with Goth style. Examples from literature and popular culture include William Gibson's fiction, China Miéville's novels, the classic filmMetropolis, and the BBC seriesDoctor Who. This volume recognizes that steampunk, a unique popular culture phenomenon, presents a prime opportunity for rhetorical criticism.
Steampunk's art, style, and narratives convey complex social and political meanings. Chapters inClockwork Rhetoricexplore topics ranging from jewelry to Japanese anime to contemporary imperialism to fashion. Throughout, the book demonstrates how language influences consumers of steampunk to hold certain social and political attitudes and commitments.
The paper aims to convey why there was an increased interest in punk music and related genres that became part of the mainstream in 1990, and the specifics of such popularity, by studying the ...transformation of the perception of punk music and related genres in the historical and social perspective. The paper elaborates on the theory that the boundaries between alternative creation and mainstream were more fluid at the turn of the 1980s and 1990s. For a short time, punk moved from the very edge to the centre of the music industry and become the focus of interest by mainstream media. The paper also brings forth some arguments why it was only a short phase. It points to the place of workers’ pub anti-aesthetics as an important cultural figure influencing the socialization of the generation of the “Husak’s Children”. What were the expert reflections of this music production, for example, in the form of music reviews released by official publishing houses? What role did the generational and class identifications of individual artists, music publicists, and fans play in the reception of punk? The research is based primarily on the analysis of official and unofficial music journalism, but also on interviews with the people involved.
Penelitian ini bertujuan untuk mengetahui secara mendalam mengenai kenakalan remaja punk. Untuk mencapai tujuan tersebut peneliti menggunakan metode kualitatif dengan pendekatan fenomenologi dan ...pendekatan studi kasus. Subjek yang diteliti dalam penelitian ini adalah dua remaja putra berumur 19 tahun dan satu remaja putri berumur 19 tahun. Berdasarkan hasil penelitian, bentuk kenccckalan remaja yang dilakukan subjek pertama lebih mengarah ke tindakan kriminal seperti melakukan pemerasan, pencurian, menjadi bandar obat penenang dan kurir narkoba, keluar masuk penjara terkait kasus penganiayaan berat dan kepemilikan obat penenang secara ilegal, kekerasan seksual, dan bahkan melakukan pembunuhan. Sedangkan subjek kedua hanya melakukan kenakalan biasa yang tidak sampai mengarah ke tindakan kriminal. Faktor penyebab kenakalan remaja punk yang dilakukan kedua subjek karena pengaruh dari lingkungan sosial, lingkungan keluarga yang tidak harmonis, musik punk yang mereka dengar, dan ada dorongan dari dalam diri subjek untuk melakukan kenakalan-kenakalan yang selama ini menjadi masalah bagi kedua subjek.
Despite their continued engagement as audience throughout their lives, there is some suggestion that ageing, or older, fans have been at large omitted from fan studies (Middlemost, 2022). This does ...seem to be shifting, however, and there is a growing body of fandom scholarship concerning ageing fans. Indeed, in the context of punk, there has been a growing recognition of the continued significance of punk to older participants and fans (e.g. Andes, 2002, Bennett, 2006, Davis, 2006), contrasting earlier work which theorized punk as a youth subculture (see, for example, Hebdige, 1998). This reflects the increasing academic interest in the ageing popular music audience more broadly (Bennett and Hodkinson 2012). Despite such positive shifts, ageing women continue to be marginalised in such discussions concerning punk and older fans, meaning that much theoretical and conceptual understandings of ageing punks have failed to fully consider the interaction between ageing, gender and fandom.
While the nexus between music and tourism has been explored by scholars, little has been written in the tourism literature about the so-called “alternative” forms of music (metal, punk), their ...related “alternative subcultures”, and their potential to propel forms of tourist mobility/consumption. This is particularly true within the context of Asian countries, including Malaysia, in which the underground punk scene is vibrant, yet relatively unexplored. Based on an ethnographic fieldwork conducted among a group of Malaysian punks, this paper explores punk mobilities and their related forms of tourist consumption. Overall, this work leads to three main conclusions. Firstly, physical mobility is crucial to strengthen a sense of communitas among the Malaysian punks. Secondly, punks often engage in forms of tourist consumption, although they prefer not to be labelled as “tourists”. Thirdly, punk could become a tourist product as long as a balance between punk values and commercial exploitation is maintained.
•Little is known about the “tourist ear” and tourists' embodied listening practices.•This paper explores Malaysian punk mobilities and their related forms of tourist consumption.•Punk could become a tourist product as long as a balance between punk values and commercial exploitation is maintained.
Punk Rock: So What? Sabin, Roger
1999, 20020911, 1999-05-27, 2002-09-11
eBook
It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What? brings together a new generation of academics, writers and journalists to provide the first ...comprehensive assessment of punk and its place in popular music history, culture and myth. The contributors, who include Suzanne Moore, Lucy OBrien, Andy Medhurst, Mark Sinker and Paul Cobley, challenge standard views of punk prevalent since the 1970s. They: * re-situate punk in its historical context, analysing the possible origins of punk in the New York art scene and Manchester clubs as well as in Malcolm McClarens brain * question whether punk deserves its reputation as an anti-fascist, anti-sexist movement which opened up opportunities for women musicians and fans alike. * trace punks long-lasting influence on comics, literature, art and cinema as well as music and fashion, from films such as Sid and Nancy and The Great Rock n Roll Swindle to work by contemporary artists such as Gavin Turk and Sarah Lucas. * discuss the role played by such key figures as Johnny Rotten, Richard Hell, Malcolm McClaren, Mark E. Smith and Viv Albertine. Punk Rock Revisited kicks over the statues of many established beliefs about the meaning of punk, concluding that, if anything, punk was more culturally significant than anybody has yet suggested, but perhaps for different reasons.
PDF
