| 1. |
- Hannerz, Erik, 1978-
(författare)
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Performing Punk : Subcultural Authentications and the Positioning of the Mainstream
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about how and in opposition to what punk is defined and lived out by punks in Sweden and Indonesia. Arguing against the previous research’s presumption that subcultural meaning constitutes a single set of meaning, this study points to two patterned sets of meanings, each constructed out of several different definitions of the mainstream as well as the subcultural authentic. Consequently, a central research question concerns how to theoretically account for similarly structured and structuring heterogeneities across and between the Indonesian and Swedish cases. Drawing from extensive ethnographic fieldwork and interviews in which a variety of interpretations of punk have been explored, six different definitions of the mainstream are outlined. Each of these refers in turn to a particular script through which subcultural styles and identities are performed and authenticated as set apart. These different definitions are then combined into two patterned sets of meaning through a consistency in terms of how the binary subcultural/mainstream is worked and extended: A convex pattern, involves a boundary work to what is defined as external to punk, bending outwards. A concave points instead bends inwards, a boundary work against mainstream internal to punk. By showing how these patterns are interrelated spatially and symbolically, it is argued that subcultural meaning as well as the authentic have to be approached from within the subcultural. The mainstream is thus released from having an inherent meaning as “the outside,” “the dominant,” or “the commercial,” and more so, so is the subcultural and the subcultural authentic. Consequently, the same object can be performed differently, drawing upon different binaries, or through working the same binaries differently, to extend the subcultural through the use of analogies and metaphors. The total similarity between how punk is performed in Sweden and Indonesia, as well as the consistent differences between the two patterns, point to a relative autonomy of the subcultural. Different definitions of the subcultural authentic and the mainstream are therefore not a matter of commitment, or degrees of authenticity, but rather different means to communicate, interpret, and act upon the subcultural.
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| 2. |
- Hannerz, Erik
(författare)
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Performing Punk
- 2015
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Arguing against the presumption that subcultural meaning constitutes a single set of meaning, Hannerz addresses how punks draw upon plural definitions of the mainstream and notions of subcultural authenticity. Drawing from an exceptionally rich fieldwork in Sweden and Indonesia, Hannerz demonstrates that how, where, and against what, punk style and identification are structured and lived comes down to how the mainstream is positioned. Outlining how different subcultural patterns of meanings are spatially and symbolically interrelated, Hannerz concludes that subcultural plurality constitutes a fundamental aspect of subcultural establishment, performance, and change, rather than a sign of deviations from a single subcultural authenticity.
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| 3. |
- Hannerz, Erik, et al.
(författare)
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Punk Subculture
- 2014
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Ingår i: Encyclopedia of Social Deviance. - 9781452240336
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Bokkapitel (refereegranskat)
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| 4. |
- Lalander, Philip, et al.
(författare)
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Punk i Peking : motstånd, attityd och mening
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Boken handlar om den levande punkkultur som uppstod i Norrköping åren 1977-83. Genom intervjuer, fotografi- och dokumentstudier försöker författarna förstå vilka punkarna var och vad som drev dem att anamma den subversiva stilen.
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| 5. |
- Krantz, Gunnar, 1962
(författare)
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Punk provocateur
- 2005
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Bok (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Lundström, Markus, 1980-
(författare)
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When Anarchism Met Punk
- 2023
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Ingår i: Social Movements in 1980s Sweden. - Cham : Palgrave Macmillan. - 9783031273728 - 9783031273698 - 9783031273704 ; , s. 81-109
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Bokkapitel (refereegranskat)abstract
- This chapter outlines how certain repertoires of contention became regenerated and enacted in the Swedish 1980s when anarchism met punk. It shows how the meeting between the Swedish anarchist movement, and the subcultural punk scene, fostered a breeding ground for new forms of activism, a hotbed that regenerated political repertoires buried in the social soil—like pyrophile plants sprouting through a wildfire. The chapter exhibits how the anarchist periodical Brand, published on a regular basis since the late 1800s, was rebranded through anarcho-punk aesthetics and increasingly synchronized with the repertoires of contention signatory to the broader autonomous movement in Europe. Hence, the anarchist politics of direct action prompted in the Swedish 1980s a revived struggle accompanied by the disorderly rebelliousness of punk and the disobedient temporality of prefiguration. When anarchism met punk, the radical struggle against hierarchy and for freedom was not primarily a political goal located at the horizon of time, but rather a politics to enact, to prefigure, a desirable future already in the present.
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| 7. |
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| 8. |
- Piotrowski, Grzegorz, 1981-
(författare)
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Punk Against Communism : Revolting in 1980s Poland
- 2016
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Ingår i: A European Youth Revolt?. - Basingstoke : Palgrave Macmillan. - 9781137565693 ; , s. 203-216
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The 1989 pro-democratic transition in Poland was partly influenced by the rapidly growing youth subcultures. Punk rock was one of the most visible of them, providing numerous young people with networking possibilities, fresh ideas and different (than of the dissidents) understanding of freedom. Punk was not only challenging aesthetically, but also contested communist authorities from a different perspective, looking into environmental protection or turning against compulsory military service. The punk ‘no future’ slogan was also very appealing for young people in crisis-driven Poland of 1980s and the flagship punk event in Poland – the Jarocin music festival – became a safe place for many young people. The aim of this chapter is to show how punk rock helped to overthrow communism in Poland through these processes.
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| 9. |
- Zhao, Yiren, 1991-
(författare)
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"Punk lifts me up!" : Shaping the meaning of Chinese punk subculture
- 2022
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Konferensbidrag (refereegranskat)abstract
- In the interviews with Chinese punk participants, it is frequent to hear the narratives of punk’s magical and powerful force, one which helps them through hardship, enables them to stick to themselves, encourages them to fight for changes, and lifts them up when they have been knocked down by reality. Actually, since being imported to mainland China in the mid-1990s, punk subculture has not only endowed its Chinese participants with resilience, but also been demonstrating resilience within the fast-growing Chinese context.In this presentation, Yiren hopes to expound the meanings of Chinese punk subculture, especially around the theme of resilience; and how these meanings are shaped by individual participants under the impact of the Chinese context. More specifically, the conclusions will be unfolded through threefold meanings in terms of individual, contextual and musical perspectives. For individual meanings, punk is practiced as an approach to authenticity. Chinese participants employ punk to express authentic individual thoughts, construct subjective identification, and reflect on the mainstream such as Chinese pop music, collectivism and patriarchy. For contextual meanings, Chinese participants use punk to resist Western stereotypes and adapt to Chinese cultural censorship. At last for musical meanings, punk empowers participants through a positive and protective power. Punk music provides a model for behaviour and spurs participants to action through the process of listening and performing. In these processes, punk music helps participants to withstand and survive struggles, activating a set of capacities of resilience.By exploring the meanings of punk subculture from different perspectives in the Chinese context, this presentation tries to approach Chinese punk as a porous subculture, instead of employing a frequently-used Western theoretical framework that overemphasises Chinese punk’s political resistance and imposes an “oppression-resistance” agenda. Only in this way, local cultural phenomena can gain open and new meanings.
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| 10. |
- Brunow, Dagmar, Dr. phil. 1966-
(författare)
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Manchester’s post-punk heritage : mobilising and contesting transcultural memory in the context of urban regeneration
- 2019
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Ingår i: Culture Unbound. - : Linköping University Electronic Press. - 2000-1525. ; 11:1, s. 9-29
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Tidskriftsartikel (refereegranskat)abstract
- Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
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