Punk Studies Research Papers - Academia.edu (original) (raw)

2025, Smash the System! Punk Anarchism as a Culture of Resistance

The intimate relationship between punk music and anarchism has been examined by scholars and by the punks themselves, rightly pointing out the anarchist aesthetics of the punk movement (Sartwell, 2010), the possibility for disalienation offered by punk communities in capitalist societies (Dunn, 2008), the direct action tactics of the punks (Barrett, 2013) and their DIY (do-it- yourself – or perhaps we should say do-it-together) spirit (Martin, 2015). Jim Donaghey has described ‘the various ways “anarchy” and anarchism appear in early punk’ (2013, p. 143), including shock tactic, reactive anarchism (opposition to the state and societal repression), practical necessity for organising the scene or intuitive anarchistic politics – all of which are particularly useful for understanding how anarchism is practiced among punk enthusiasts, even without prior knowledge of the anarchist intellectual canon. Much of the literature on the relationship between anarchism and punk focuses on Western punk movements in specific capitalist societies – but what about punk scenes in other political, social and geographical contexts? As an international phenomenon, punk music has appeared in various countries of the Global South, and has been appropriated by local punk communities, changing and adapting its meanings and practices in order to reflect their local situations – as for instance in Indonesia (Baulch, 2007) or Mexico (Tatro, 2014), and as exemplified by the numerous international chapter contributions for this Anarchism and Punk Book Project.

2025

Squats are of notable importance in the punk scene in Poland, and these spaces are a key aspect of the relationship between anarchism and punk. However, the overlap of squatting, punk, and anarchism is not without its tensions. This article, drawn from ethnographic research carried out between 2013 and 2014, explores the issues around punk and anarchist squats in Poland, looking at: criticisms levelled at punk squats by ‘non-punk’ squatting activists (e.g. Przychodnia in Warsaw); instances of squats as a hub for a wide spectrum of anarchist activity (e.g. the ‘anarchist Mecca’ of Rozbrat in Poznań); and the repression of squatting in Poland through eviction and legalisation (affecting all squats in some form). (Other squats and social centres mentioned here include Elba and ADA Puławska in Warsaw, Wagenburg and CRK in Wrocław, and Od:zysk in Poznań.) Among the various squats, there were tensions around approaches and tactics identified as ‘more anarchist’ or ‘less anarchist’ – this ...

2025, Journal of Political Ideologies

Many of the connections between punk and anarchism are well recognized (albeit with some important contentions). This recognition is usually focussed on how punk bands and scenes express anarchist political philosophies or anarchistic praxes, while much less attention is paid to expressions of 'punk' by anarchist activist groups. This article addresses this apparent gap by exploring the 'punk anarchisms' of two of the most prominent and influential activist groups of recent decades (in English-speaking contexts at least), Class War and CrimethInc. Their distinct, yet overlapping, political approaches are compared and contrasted, and in doing so, pervasive assumptions about the relationship between punk and anarchism are challenged, refuting the supposed dichotomy between 'lifestylist' anarchism and 'workerist' anarchism.

2025, Psychology and Education: A Multidisciplinary Journal

This study aimed to examine the implications of SB19's songs on Filipino culture through content analysis. It focuses on five (5) selected songs by the group: MAPA, WHAT?, Go Up, SLMT, and Ikako, which were chosen based on their popularity and number of views. The frameworks of Content Analysis and Van Dijk's (2000) Critical Discourse Analysis were employed to analyze the lyrics in terms of thematic content, cultural connection, and the values or moral lessons conveyed by the songs. The analysis also considered the structure of each song on the levels of macrostructure, superstructure, and microstructure. The findings reveal that SB19's songs address not only personal and emotional experiences but also highlight cultural and social issues related to family, faith, resilience, gratitude, and hope. The songs demonstrate artistic and powerful use of language, such as repetition, codeswitching, and patriotic expressions, as tools for delivering their intended messages. The study confirms that SB19's music serves as an effective medium for expressing national identity and is a significant contribution to the development of contemporary OPM (Original Pilipino Music) grounded in traditional Filipino culture. The researchers recommend expanding the scope of future studies to other P-pop groups and songs, integrating such music in education as instructional material, and sustaining support for culturally rich music.

2025, International Journal of Multicultural and Multireligious Understanding (IJMMU)

The existence of a fairly large punk subculture and the position of Islam as the majority religion in Indonesia often give rise to a binary view that opposes the two. However, in the midst of this dichotomy, a group has emerged that identifies itself as Muslim Punk. This study does not focus on the Muslim Punk community in general, but rather examines the practice of identity politics carried out by The Fortys Accident, a hardcore punk band from Surabaya, through the media of music, lyrics, and pamphlets that they produce. Using Norman Fairclough's critical discourse analysis approach and qualitative descriptive methods, this study examines how these texts reflect efforts to re-articulate Islamic identity in the punk space that has been dominated by secular and anti-religious discourses. The results of the analysis show that The Fortys Accident practices counter-hegemony through the resemantization of punk as a space for spiritual and social expression, as well as building alternative discourses that are more down-to-earth, reflective, and humane. They not only reject the dominant view that separates religion and punk, but also show how Muslim identity can be constructed culturally without losing its spiritual dimension or social criticism.

2025

ÖZET Bu çalışma, çevreci duyarlılığın tarihsel gelişimini ve kültürel temellerini inceleyerek ekomüzikoloji kavramı çerçevesinde müzik, doğa ve insan arasındaki ilişkileri analiz etmektedir. 19. yüzyıldan itibaren sanayi devrimiyle... more

2025, Incertidumbres, crisis y conflictos en la Historia Moderna y Contemporánea

2025, LJA.MX

La reflexión cuestiona qué hace que una propuesta musical merezca el adjetivo “vanguardista”. Examinando figuras como Charles Mingus, Bob Dylan, David Bowie, Led Zeppelin y Sigur Rós, se observa que todas comparten el eclecticismo y la ruptura con convenciones: se trata de artistas que fusionan estilos, innovan con mezclas arriesgadas y articulan sonidos más allá de su tradición. Se concluye que la vanguardia musical no es cuestión de música nueva por sí sola, sino del grado experimental que revela el collage creativo sin perder conexión con la historia estética que lo precede.

2025

Partly taking its title from the song Life We Make, by British anarcho-punk band Flux of Pink Indians, this thesis investigates how participants of the British anarcho-punk subcultural scene of the late 1970s to late 1980s, reflexively narrate their affiliation to, and engagement with, that subcultural scene, and the significance that has had on their later lives. Whilst most studies in the field of subcultural and post-subcultural studies tend to focus on 'active' adherents, little research has been conducted into how youthful affiliations with a music-driven subcultural scene continue to inform those who relinquish that affiliation, in later life. This thesis is concerned with the long tail of subcultural scene affiliation, where through their reflexive narratives my participants map their personal journey into and out of British anarcho-punk. In doing so it raises a number of questions. truth, an exposition, an explanation: I am not exaggerating when I say that record changed my life. It was answering questions and ideas I had been wrestling with. How your parents, your teachers, the police were all colluding against you to try to control your life and get you to conform to theirs and society's expectations. Get qualifications, get a job, get married, get a house and become a slave to the system. Of course, those weren't the words I was using at that point; but that moment, that aural epiphany, suddenly started to put vague threads of thoughts, feelings and ideas into place; into some semblance of cohesive order and importance. The combination of stark imagery and powerful words were like gold dust to a young boy trying to find his place in all this madness of adolescence. So began my lifelong relationship with a form of 'punk' that went beyond the attention grabbing, but empty, sloganeering of the Sex Pistols' Anarchy in the UK and made anarchism a central tenet of this developing subset of punk. Crass were far more overtly political than the other punk I had listened to and encapsulated an array of politics and ideologies that I could relate to. This style later became known as British anarcho-punk 1 .This was the education that I would never get at school and it helped inform me of a whole set of ideologies that has served as a 'personal' guide and manifesto in my adolescence and to my life today. I was introduced to a number of political and cultural ideas that I had never considered before, new ways of thinking about my place in society and the world in general. Through British anarcho-punk I started to learn more about anarchism, feminism, gender politics, animal rights, squatting, third world poverty, class politics, police and state oppression and the state war machine. This 'education' was gleaned from the lyrics of the bands I listened to, and the proliferation of 'zines 2 and cassette tapes that were sold or traded at anarcho-punk gigs. Reading 1 British anarcho-punk is a retroactive term with some debate over who and when the term was first coined, and when it came into common parlance among its adherents. It is recognised as a subset of punk that existed in the UK between 1979 and 1987. I use the term British anarcho-punk in this thesis to differentiate it from other global anarcho-punk subcultural scenes. The literature supports the claim that anarcho-punk, in more general terms, originated in the UK in the late 1970s through the seminal anarcho-punk band Crass. However quite rapidly in its wake, other anarcho-punk subcultural scenes emerged in other localities around the globe. In this thesis, all my participants affiliated with the British anarcho-punk subcultural scene, between 1979 and 1987. 2 In this thesis I use the term 'zine rather than fanzine. Although it is recognised that 'zine is a shortened form of the term fanzine, or fan magazine, the prefix 'fan' could imply that one is a fan of a particular form of music, art or culture. Many punks don't necessarily perceive themselves to be fans of punk rock, but rather members of a subculture, scene or movement, that for many is a lived experience or way of life. The term 'fan' is, for many punks associated with pop music and the commodified mainstream music industry is often explicitly rejected by punks 'zines was a great way to spend the journey home after a gig, finding out more about the bands I was seeing play live, forthcoming gigs, what was happening in other anarcho-punk subcultural scenes around the country, and most importantly the developing politics and ideologies that were being written about and discussed within the 'zines and amongst the people I met at anarcho-punk gigs. I left school in the summer of 1981, into a decade of political and social upheaval at the hands of Margaret Thatcher's Conservative government (Vinen, 2009;. Under her leadership, the government imposed a political model that further deindustrialised Britain, privatised many public owned businesses, created mass unemployment, quashed the trade union movement and increased the class divide in favour of the wealthy minority (Vinen, 2009; Jackson& Saunders, 2012). Her strong, but at times problematic alliance with the then US President, Ronald Reagan, heightened the Cold War standoff with the Soviet Union (Aldous, 2012) and with Thatcher agreeing to allow US nuclear missiles to be based on British soil created an overarching fear of the possibility of nuclear war in Europe . This militarised confidence led to Britain going to war with Argentina over the Falkland Islands, and in 'victory' Thatcher unleashed a militarised police force on the miners, black communities, peace activists, new age travellers and many other protest groups or cultures of resistance, resulting in violent tactics to suppress any political challenge to the government and its policies . Informed by a new set of cultural ideologies, I became more politically militant and active. I started attending political rallies and demos with Class War, Anarchist Federation, the Campaign for Nuclear Disarmament, Animal Liberation Front. I went hunt sabbing, became a committed vegetarian, got involved in community projects, and spent the summers at music festivals such as Stonehenge Free Festival where I had my first contact with a 'tribe' of travelling people that would later form the next chapter of my life. I moved into a squat in Brighton with other like-minded people, and very much felt part of a 'community' that was seemingly actively challenging the existing political system. During that period, I was at times on the direct receiving end of the Government's policies, and saw first-hand the measures the state would go to deprive marginalised groups of people their civil liberties.

2025, Punk & Post Punk

In popular music histories of punk, much has been documented on punk music and the formation of a punk canon. Much of this is focused upon the discussion of its generic development, its politically disruptive nature as a music genre, and the construction of its history, however exclusive that might be (Savage 2002;. Within moving images, documentaries such as The Filth and the Fury (Temple, 2000), The Clash: Westway to the World and The Punk Rock Movie have all contributed to the canonization of particular bands, performers and artistes within the popular conception of punk history. While the canonical narratives of punk tended to concentrate on popular punk bands such as the Sex Pistols, The Clash and The Damned, for example, we can understand these bands as having their ideological messages commodified through their affiliation with major record labels. Outside of these major labels and their punk artistes existed a DIY punk scene known as 'anarcho-punk', which was associated with an overt sense of political commitment and authenticity. At the centre of this particular scene was the band Crass, who articulated an anarchic and pacifistic DIY ethic as a touchstone for an alternative way of living, and used punk music as a vehicle for furthering the anarchopunk movement's ideologies. Investigating the ways in which Dutch film-maker Alexander Oey mediates the story of Crass in his film There Is No Authority But Yourself (Oey, 2006), this article examines how Oey's documentary seeks to evaluate and deconstruct established canonical approaches in order to illuminate a wider set of practices at work in the mediation of punk historiography. In doing so Oey's documentary rewrites the narrative of punk history in a way that takes account of the significance of punk's underbelly. Within this article I will show that, although the Crass documentary may on the surface appear to be generic and non-challenging, with regard to a narrative interspersed with archive material, it considers the reconstruction of the past in its grafting of Crass onto the punk narrative timeline. It also considers how current activities of the band members continue to be influenced by their early political principles and the political directives of the anarcho-punk movement. Alexander Oey's documentary takes its title from the final lines of the Crass album Yes Sir, I Will (1983), 'You must learn to live with your own conscience, your own morality, your own decision, your own self. You alone can do it. There is no authority but yourself', and thus reflected the bands dogmatic belief in one's personal responsibilities to enable change. In his previous work Alexander Oey is renowned for documenting stories that challenge some of society's accepted values and has engendered controversy with his previous films Euro-Islam According To Tariq Ramadan (Oey, 2005), My Life as a Terrorist: The Story of Hans-Joachim Klein (Oey, 2005) and Negotiating With Al-Qaeda? (Oey, 2006).

2025, Ausart

OE), desde su creación en 1982 hasta 2022. Para ello, se tienen en cuenta las políticas culturales del Gobierno Vasco y el lugar de la Orquesta en el entramado cultural vasco. Se apunta el acercamiento de la OE a otras instituciones del ámbito educativo y de la comunicación. Asimismo, se examinan los diferentes estilos y géneros musicales interpretados por la OE, en sus encargos, en su discografía, así como el apoyo prestado a los creadores vascos. Se concluye que la labor realizada por la OE contribuye al encuentro e interacción de culturas y tradiciones musicales diversas, que garantizan el acceso y la apertura a la comunidad internacional.

2025, The political dimension of music and songs within the Global South: an initial approach through the contemporary artivist ecosystem of resistance in Chile

The political dimension of music and songs has most often been studied using a mass media approach that already exhibits a North-South bias (Golding & Harris, 1997) thereby reinforcing the flow of information in that direction and missing out other aspects that, although representative of local communities, are not depicted or pose contradictions when interpreting local culture. This raises inadequate questions about culture, identity and globalisation. Through the aesthetization of communication (Parret, 1993), we may depart from the previously mentioned perspective, considering communication not as a tool to win the finite strategic game of society but rather to understand the mechanism of subjective and intersubjective understanding of those that prefer to play the infinite game in community. In this sense, the sensus communis is built upon networks of affection, main dimension of aesthetics, since it is the constant search for happiness that creates a common understanding of life, thus a way of being-with-others in a community of building, especially when it becomes the only way for both resistance and existence (Guerra, 2020). Taking the Chilean artivist underground scenes as a first approach, the results obtained through categorial content analysis of semi-directive interviews held with the social agents suggest that most of the interviewees that expressed an engaged citizenship level value through collective engagement had as their everyday soundtrack, or at least held an important time and space in their lives, music and songs comprising the New Chilean Rock genre (Canales, 2017), while the Chilean New Song movement (Carrasco, Bendrups & Urribarrí, 2022) was more often mentioned by interviewees with a duty-based citizenship level value. Furthermore, the reflexive effect of those politically inspired songs on social agents is still present, but as symbolic anthems representing their pursuit of alternative career paths and lifestyles through a DIY ethos. At the Chilean 2019 social uprising, the communicational impact of these underground networks based on DIY culture (Guerra & Bennett, 2020) was considered relevant since it addresses both personal and socioeconomic issues effectively through the construction of alternatives that helped configure the social fabric of their territories. The actual impact of the political dimension, focusing on communicational effectiveness, will be addressed through the Chilean artivist ecosystems of resistance. This will be achieved by setting the configuration of Chilean underground music scenes, from the Chilean New Song to the Chilean New Rock genre, as a starting point and examining how these protest songs relate to the subjectivities and intersubjectivities within Chile's contemporary artistic underground scenes, which are bound to DIY ethos artivisms.

2025, Public Books Series

2025, Unearthing the Music

New Chicks on the Bloc is about punk women behind the 1980s Iron Curtain, namely Tožibabe from Yugoslavia, Ave Luna from Estonia, and Yanka Diagileva from Novosibirsk

2025, Social Pathology and Prevention

The first remarkable signs of the skinhead subculture, according to the current literature, date back to 1985, but the first signs of skinhead can be traced between 1983 and 1984. The anti-communist mood in society and growing community intolerance towards the gypsy population have paved the way for far-right thinking. This was further stimulated by the infiltration of news from foreign medias, which considered ultra-right action to be a sensation, and because of this marketing step, the population was so supplied with hot news. The relationship between the punk movement and the skinhead subculture is basically that skinheads are merging from punk movement because of the influence of socalled Oi movement or by the imagination of foreign media, such as the 100+1 magazine of foreign interests. The right-wing skins experienced its own Renaissance when the Orlík music group emerged, which, however, evaded from neo-Nazism promoted abroad and built its values on patriotism and racism, although some of those texts attracted a number of those fans. With the collapse of the communist regime and the opening of the information flow, several subcultures began to be profiled by yet unavailable information.

2025, The Oxford Handbook of Punk Rock

Here you can access George McKay and Gina Arnold's Editors' Foreword to The Oxford Handbook of Punk Rock. . No Future. Punk Is Dead. That is what they sang and said. Yet as we approach fifty years of punk rock, it still endures, and... more

2025, Dead Kennedys and Philosophy

Of all the California Bay Area bands of the 1970s and 80s, none gained the notoriety nor the international influence of the Dead Kennedys. The very name Dead Kennedys, which surely attracted many to their shows and records in the first place, demonstrates the effort and success of this band’s utilization of shock aesthetics for the furtherance of their highly politicized, highly critical form of punk music and art.Yet, shock aesthetics alone wouldn’t set the Dead Kennedys apart from many other punk bands who deliberately utilize shock to inspire particular responses from audiences, media, and public personalities. Nor would the Dead Kennedys’ radical politics or sense of humor alone differentiate them from many other groups. This essay argues that it is the precise amalgamation of these features that present the work of the Dead Kennedys are particular important and fruitful for philosophical engagement. In other words, it is the fact that embedded within and inseparable from their shocking aesthetics is an acerbic sense of humor that seems to take great pleasure or even fun in political critique.To analyze the shock and humor of the Dead Kennedys music and the persona of Jello Biafra, this essay turns to Kantian definitions of the ‘sublime,’ Freud on the ‘uncanny,’ Hakim Bey and on the political efficacy of shocking aesthetics, and Roland Barthes’s concept of the ‘punctum.’ These philosophical terms and concepts are mobilized to unpack and analyze the Dead Kennedys, and the Dead Kennedys are in turn mobilized to explore the broader theoretical purchase such philosophical notions have for analyzing punk and other cultural spaces.

2025, Aquarium Drunkard

A reflection on the late Marianne Faithfull: What does it mean to simply keep living, making, and getting older? To do that the “right” way? What does it mean for a woman known for being exquisitely beautiful? A woman who was first only allowed one version of being but refused to be held in amber? A woman constantly called a muse while she was collaborating and making her own work? This essay appeared at Aquarium Drunkard (aquariumdrunkard.com).

2025

Copyright ©198S, Janice Ca!afa Too.,. Os dlreito. lUervado •. A reprod~io niio-auto,izada desta publioa~io. no todD au em part., con.titu; violacio do copyright. (lei 5 ,988) 1985 Direito, par •• ,to eIIil'iO tontrat.dos com

2025, Anthropologies

What Lily Allen understood about hegemony before you did.

2025

The idea for this prose poem came through a brief encounter with the writing of Rosmarie Waldrop, a poet born in
Germany in 1935. She wrote, among many other books, one titled: Curves to the Apple1
, in which I found a long poem:
“Lawn of Excluded Middle.” Language and philosophy, interests we share, I discovered, and my relationship with a
life-long friend, Joe Brenner, a chemist cum philosopher, sparked a continued interest in logic especially the logic of “the
included middle,” a process he introduced in his important book: “Logic in Reality.2
.”

2025

In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. The [name of company/corporation/brand name and website] were exclusively created to meet the thesis and/or exhibition requirements for the degree of Doctor of Philosophy at the University of Saskatchewan.

2025

2025, ASAP/J

Punk is not so much a genre of music as it is “a political stance, […] a social movement, […] and […] a lens of critical appraisal.” (Roderick, 2013). It has typically been a place for society’s misfits, in part as it presents both a... more

2025, NOFX: Forty Years of "Problematic" Punk Provocations

NOFX has used humour in its live performances, lyrics, album titles, album artwork, and in various other forms since its inception. Sometimes humour is self-deprecating and references band members themselves: vocalist Mike Burkett... more

2025, Punk & Post-Punk

Rob Ruckus is a veteran of the Las Vegas punk scene and has played in punk bands and been involved in various punk projects across the past four decades. Since the Punk Rock Museum opened in Las Vegas in April 2023, Rob has managed its Jam Room. The Jam Room features a range of instruments donated to the museum by various punk bands. The instruments are all available to be played by visitors to the museum, and Rob is as enthusiastic about encouraging people to play the instruments as he is talking about the museum or his experiences in punk. Rob spoke with Paul Fields in July 2023.

2025, Liminalities

This article represents a work in progress, based on a paper I delivered at the Punk Scholars Network USA/Canada Conference at DePaul University, Chicago on 8 August 2023. In a broad sense my research looks at various topics in punk (sub)culture, some of which relate to issues to do with social policy within punk and how these are constructed and applied. Part of this considers the nature of ‘rules’ within punk, who creates them, and how their boundaries are determined, observed, and—if transgressed—reacted to. Given this, and how punk can play such an important and all-encompassing role in some people’s lives, an emerging strand of this research involves whether and to what extent we can see elements of religious or quasi-religious practices within punk. In this article I will speculate on some initial ideas related to this topic. First, I will consider reflections on punk and religion in social media. Second, I will look at ways other concepts have been considered in terms of how they may exhibit religious qualities. Third, I will select a small number of standout moments from the history of punk that appear to have religious-like qualities. Finally, I will use the work of sociologist Gordon Lynch (2005) to speculate on how this research may progress. As this research project is at an emergent stage, I will fleetingly consider bands and individuals from various eras of punk, although mostly from the United States in the 1980s and 1990s. Evidently, then, neither the examples of the features of punk nor the features of religion are anywhere near exhaustive. At a more advanced stage I expect the research to consider a more comprehensive sample of punk while focusing the project both theoretically and methodologically.

2025, Conference Proceedings International Conference Youth Activisms

Algunos discursos políticos han asociado los movimientos nacionalistas subestatales de largo recorrido con representaciones esencialistas del pasado y con prácticas políticas inamovibles en el transcurso del tiempo. Frente a esta visión, este texto explora las conexiones entre estos movimientos nacionalistas subestatales, en su versión de izquierda, y las políticas prefigurativas tardomodernas, centrándose en el caso del activismo juvenil. El texto se basa en el estudio de caso sobre la politización juvenil en el País Vasco, realizado mediante una aproximación metodológica cualitativa a través de entrevistas en profundidad, a jóvenes activistas de ámbitos muy diversos: organizaciones políticas más clásicas, movimientos sociales, iniciativas juveniles más innovadoras, etc. Se han analizado las reformulaciones y ajustes discursivos realizados por las personas jóvenes activistas cercanas al nacionalismo vasco de izquierda, a partir de los sentidos atribuidos por estos jóvenes a su actividad política. Entre otras cuestiones, el análisis revela que, por un lado, el movimiento nacionalista de izquierda provee de condiciones sociales y políticas necesarias para el desarrollo de políticas prefigurativas novedosas, distintas de las tradicionales políticas de construcción étnico-nacional. Por otro lado, también muestra que, debido a su carácter contencioso previo, el ideario nacionalista es receptivo a los diferentes sistemas de opresión que actúan globalmente y se ve influido por las agendas de conflictos propios de la modernidad tardía, de modo que las generaciones más jóvenes trasladan al ámbito local discursos y prácticas globales y los hacen suyos.

2025, British and American Studies

This article proposes a nuanced examination of female identities within the framework of postmodern feminist literature and punk's cultural rebellion, critically engaging with the legacy of Kathy Acker and the punk literary movement. My research transcends traditional analysis and explores the construct of female identities through the lens of postmodern feminist resistance, where Acker's deconstruction of narrative forms and punk literature's radical ethos serve as focal points. The study aligns with Acker's thematic preoccupations with power, autonomy, and societal transgression, drawing parallels with contemporary feminist concerns. This interdisciplinary approach, combining comparative literature analysis, feminist theoretical perspectives, and examining power dynamics in fiction, seeks to articulate how postmodern narratives, particularly within the punk genre, redefine and challenge conventional gender roles. It aims to focus on discourse on gender and cultural studies by offering insights into the complex interplay between historical narrative constructs and their reimagining in postmodern feminist and punk literature, highlighting the evolution of female identities in a continuously shifting socio-political landscape.

2025, Contra e para além do Estado. Cultura política autonomista: as origens, a reemergência e o Brasil pós-redemocratização

Esta tese trata do que denominamos cultura política autonomista, aqui identificada enquanto parte da tradição socialista, particularmente a que se refere às correntes antiautoritárias, como os anarquismos, a tradição marxiana e os marxismos heterodoxos — com destaque para a primeira. Tensionada entre uma historiografia que prioriza ora as culturas políticas e experiências históricas relacionadas à tradição marxista-leninista ortodoxa, ora as relativas à socialdemocracia, a cultura política autonomista, correntemente, tende a ser preterida ou mesmo negada em sua existência. A partir de uma abordagem calcada nas perspectivas da Nova História Política, esta tese elenca três elementos fundamentais do imaginário e das representações do universo político autonomista: o princípio político do comum, a antifragmentação e a prefiguração. A partir desses referenciais, traça-se uma trajetória de longa duração, atravessando a constituição dessa cultura política, suas atualizações e submersões, bem como seu retorno ao centro da cena política a partir da Revolução do Maio de 1968. Passando, em seguida, pelo anarcopunk, pelo movimento antiglobalização da segunda metade da década de 1990 e desaguando no ciclo de protestos dos anos 2010, verificamos as formas pelas quais o autonomismo tem se expressado e se adequado às conjunturas contemporâneas, com destaque para o Brasil. A tese tem como base empírica dois textos clássicos de Proudhon, além de fanzines e referências do imaginário anarquista, bem como depoimentos de militantes e ex-militantes que atuaram no movimento antiglobalização no Brasil e/ou no ciclo de protestos de Junho de 2013, além, é claro, de dialogar com a bibliografia pertinente.

2025, Punk & Post-Punk

In this interview with Los Angeles performance artist Johanna Went, the artist talks with art historian Maria Elena Buszek about her path towards both performance art and the punk scene in the 1970s. They discuss the genesis of Went's often gruesome, largely improvisational performances and lovingly crafted, sculptural costumes that were exhibited in the 2020 exhibition Passion Container at LA gallery The Box, feminist politics and what Went calls the 'bloodlines' of the LA punk scene.

2025

Pergaulan bebas di kalangan remaja dapat menimbulkan dampak signifikan terhadap perkembangan kognitif mereka, yang berpotensi menyebabkan kerusakan pada pola pikir. Perspektif psikologi kognitif menyoroti bagaimana keterlibatan dalam perilaku berisiko yang seringkali terkait dengan pergaulan bebas dapat memicu atau memperkuat distorsi kognitif, membentuk keyakinan yang tidak adaptif, mengganggu proses pengambilan keputusan yang rasional, dan mempengaruhi regulasi emosi serta kognisi sosial. Kerusakan pola pikir ini dapat bermanifestasi dalam bentuk minimalisasi risiko, generalisasi berlebihan, pemikiran dikotomis, personalisasi, pembacaan pikiran, serta pembentukan keyakinan negatif tentang diri sendiri, orang lain, dan dunia. Lebih lanjut, dominasi pemikiran emosional, penurunan pertimbangan konsekuensi, dan fokus pada penghargaan segera dapat merusak proses pengambilan keputusan. Perilaku berisiko juga dapat menjadi mekanisme koping maladaptif, mengganggu regulasi emosi dan kemampuan membangun hubungan yang sehat. Dampak jangka panjang dari kerusakan pola pikir ini dapat merugikan kesehatan mental, hubungan interpersonal, dan pencapaian tujuan hidup remaja. Pemahaman mendalam tentang mekanisme kognitif yang terlibat dalam kerusakan pola pikir akibat pergaulan bebas menjadi krusial untuk mengembangkan intervensi pencegahan dan pemulihan yang efektif, yang berfokus pada identifikasi dan modifikasi pola pikir maladaptif serta peningkatan keterampilan kognitif yang adaptif. Kata Kunci: remaja, kerusakan pola pikir, pergaulan bebas

2025, Historia del Presente

El 27 de septiembre de 1975, dos miembros de ETA político-militar, Ángel Otaegi Etxeberria
(Caraquemada) y Juan Paredes Manotas (Txiki), fueron fusilados tras ser condenados en sendos
consejos de guerra. El primero había sido cooperador necesario en el asesinato de un guardia civil
y el segundo había participado en acciones en las que perdieron la vida dos policías. Las protestas
contra su ejecución les convirtieron en símbolos para gran parte de los antifranquistas. En los
años siguientes, sin embargo, sus figuras fueron patrimonializadas por el entorno de ETA militar,
que utilizó herramientas propagandísticas como la celebración del Gudari Eguna para presentarlos como mártires de la patria a quienes autóctonos e inmigrantes debían imitar. Al igual que las
personas que habían asesinado, su historial terrorista fue cayendo en el olvido. En noviembre de
2012 el Gobierno Vasco reconoció a Paredes y Otaegi como víctimas de la violencia política. Ahora el nacionalismo vasco radical pretende que sean considerados «luchadores por la democracia».
En este trabajo se analiza su trayectoria como miembros de ETA, la cambiante memoria sobre su
caso y el difícil encaje en el relato histórico de victimarios-víctimas como ellos.

2025

Vaya jodido mundo en el que vivimos, sentencia Juan Soto en esta nueva entrega de su 'Modus Vivendi' . Una época y ni cuenta nos dimos. El 'sistema' ha sabido asimilar el espíritu de que alguna vez contagió a la cultura, convertirlo en simulación y mercancía. El mejor ejemplo de está la música. El facturando millones haciéndose pasar por subversivo, pero hasta la estética del punk ya parece humor involuntario. "Si hoy las grupo los Ramones se venden tapujos en los Walmart, tener la certeza de que algo en nuestra cultura no funciona bien".

2025

This thesis paper has been examined and approved.

2025, Dani Hvarskoga kazališta

U kontekstu društvene drame stigme neprilagođenih kao primjer navodim no-umjetnika
Vladimira Dodiga Trokuta i multimedijalnoga umjetnika Krešu Kovačičeka, iznimne
umjetničke osobnosti. Fotodokumentacija svakodnevnice u kontekstu istraživanja Ervinga
Goffmana Kako se predstavljamo u svakodnevnom životu (1959), što se tiče Vladimira
Dodiga Trokuta može se ilustrirati riječima njegova odvjetnika i postumnoga zastupnika
Silvija Hraste: »Već su njegov fizički izgled, duga kosa i brada, specifičan, potpuno neuobičajeni
način odijevanja, upućivali na njegovu iznimnu ličnost. Zapravo svi mi koji smo
ga poznavali znali smo da je njegova fizička pojava njegov umjetnički koncept« (prema
Pleše 2018). Ukratko, Vladimir Dodig Trokut, likovni umjetnik i sakupljač umjetnina, koji
djeluje do smrti 2018. godine akcijama, performansima, reciklažama društvene i mentalne
angažiranosti, a široj je javnosti poznat kao autor i vlasnik projekta Antimuzej, deklarira
se/ deklarirao se kao »anarhist, ratnik, umjetnik, pisac, filozof, mistik..., antikonceptualist
iz obitelji hrvatskih poglavica«. Kao primjer stigme neprilagođenih navodim i Krešu
Kovačičeka, riječkoga umjetnika performansa, grafičara, glazbenika, profesora i kustosa,
koji je u jednom trenutku i netragom nestao iz vlastitoga grada, o čemu svjedoči izniman
eksperimentalni film Krešo (2023) njegovih prijatelja Marine Musulin i Zorana Kreme, koji
dokumentira priču (sa sretnim krajem) o potrazi za prijateljem/ umjetnikom.
Ključne riječi: V. D. Trokut; Krešo Kovačiček; neprilagođeni; stigma; konceptualna
umjetnost

2025

N. 2/2023 Il sistema penale minorile alla prova del populismo penale a cura di Vincenzo Scalia INDICE Da Mare Fuori a Corvetto. La questione minorile come questione sociale, di Vincenzo Scalia 7 Oltre la crisi e il mero contenimento: un rinnovato impegno per le comunità locali, di Franco Prina 15 La giustizia minorile: un'analisi dei dati di lungo periodo, di Roberta Rao 30 Le recenti innovazioni normative riguardanti i minorenni e la loro incidenza sulle procedure penali minorili, di Chiara Scivoletto 79 L'Osservatorio di Antigone sulla giustizia minorile: uno sguardo lungo quindici anni, di Susanna Marietti 104 No Future -1970s Culture wars, di Matt Clement 120 Il modello recluso: dal branco al gruppo. Prospettive psico-educative e interventi nel gruppo di adolescenti, di Rosa Vieni e Celeste Giordano 140 ALTRI SAGGI 154 Carcere, fabbrica di proletari nel Piemonte dell'Ottocento?, di Stefano Feyles 156 RUBRICA GIURIDICA 193 L'infra-diritto nella gestione del Servizio Nuovi Giunti: il caso di Torino, di Eleonora Cantaro e Francesca Toffaldano 195

2025, Camo Jacket With Patches

Unlike many other wardrobe classics, the camo jacket has undergone a makeover. It was first created for survival and functionality, but over time it evolved into a potent representation of style, identity, and defiance. The insertion of patches—personality symbols sewn onto a piece of military equipment—is one of its most notable developments. The evolution of the camouflage jacket with patches from battlefields to shops can be divided into four phases.

2025

In the early 1990s', grunge music started to emerge into the mainstream. Grunge is a development from punk-rock and originated from an underground music scene in Seattle, where bands we know today, like Nirvana, Pearl Jam and Soundgarden have their roots. The mosh pit was a part of this punk-rock scene and was not seen as 'popular' to the masses at the time. However, in 2020, mosh pits are common practice at music concerts and festivals. I have explored the degree of grunge's involvement with this drastic cultural change in attitude towards mosh pit and with that, test the degree of its effect. In this research project, you will find a combination of primary and secondary knowledge, considering both quantitative and qualitative data. I conducted a total of seven interviews and used their content to scrutinize and add to existing material on my topic. Principles of music psychology are the foundation of this paper. From the investigation, we deduced factors like ingroup favouritism, social cohesion and emergent behaviour are prime examples of these theories. With the support of quantitative data, we deduced a two-fold answer. We found that grunge music increased the intensity of the mosh pit overall, due to the sheer size differences in audiences but proportionally, the activity of the mosh pits of the underground scene was higher than at the mainstream concerts.

2025, Societies

This study explores the Potaxie, Fifes, and Tilinx subcultures on TikTok, examining their origins, characteristics, and cultural significance. Originating from a viral video in 2020, the Potaxie subculture emerged within the Spanish-speaking LGBTQ+ community and evolved to symbolise inclusivity and gender equality. Potaxies use vibrant aesthetics influenced by Japanese and Korean pop culture to express their identities and resistance. In contrast, Fifes, associated with cisgender heterosexual men, embody traditional patriarchal values, often sexist and homophobic, creating a narrative of resistance between the groups. The Tilinx, symbolic descendants of the Potaxies, are inspired by ballroom culture and drag houses, with "Potaxie mothers" continuing the fight for inclusion and diversity. Using a mixed-methods approach, including quantitative analysis through the TikTok API and qualitative content analysis via MAXQDA and Python, this study provides a comprehensive understanding of the subculture that accumulates over 2.3 billion interactions. The findings highlight how TikTok serves as a platform for identity construction, cultural resistance, and the redefinition of social norms. Additionally, the study examines how digital platforms mediate intersectional experiences, favouring certain types of content through algorithms, and how participants navigate these opportunities and constraints to express their intersecting identities. The implications for communication strategies, youth policies, educational plans, and research on the commercialization of these subcultures are profound, offering insights into the transformative potential of social media in shaping contemporary cultural and social narratives.

2025, Societies

La Etnnia: o legendário hino do hip hop latino La Etnnia: The Legendary Anthem of Latin American Hip Hop * Éste artículo es resultado de veinte años de trayectoria en el movimiento hip hop como rapera, y del interés de conectar la academia con las calles y sus historias, además de la necesidad de documentar el trabajo de La Etnnia como parte fundamental de la memoria histórica en Colombia y relato vivo de la música independiente en el continente. ** Rapera con veinte años de trayectoria. Licenciada en Lengua Castellana y aspirante al título de

2025

While there have been various books and shows on specific aspects of the 1980s underground, this exhibition is perhaps the first attempt at a cross-decade overview. It steps back from single genres or individual venues to survey the bigger picture and what really went on... Dismissed as a grey decade where money replaced self-expression, once the surface of the 1980s is scratched, what happened at underground level is revealed to be fascinating-a subversive and genuinely fertile period of youth culture.

2025

Text and graphics from my 2018 DEBUT SHOW: ‘The music that saved a decade: divining the eighties underground (through original perceptions), 1979-1991’, Barbican Music Library, 14 July-5 October 2018 (see... more

2025

Part 3: text and graphics from my 2018 DEBUT SHOW: ‘The music that saved a decade: divining the eighties underground (through original perceptions), 1979-1991’, Barbican Music Library, 14 July-5 October 2018 (see... more

2025

Berdasarkann hasil studi pendahuluan yang telah dilakukan oleh peneliti di SMAN 1 Sooko Mojokerto, terdapat 5 siswa yang memiliki kemampuan penyesuaian diri yang rendah. Dengan demikian, salah satu alternatifn bantuan yang diberikan untuk meningkatkan penyesuaian diri adalah menggunakan konseling kelompok pendekatan adlerian. Penelitian ini bertujuan untuk menguji penerapan konseling kelompok Adlerian untuk meningkatkan penyesuaian diri di sekolah kelas X MIPA 2 SMAN 1 Sooko Mojokerto. Penelitian ini menggunakan rancangan pre-eksperimen berupa pre-test and post-test one group design. Metode pengumpulan data yang digunakan adalah angket untuk mengetahui tingkat penyesuaian diri kelas X MIPA 2 SMAN 1 Sooko Mojokerto. Subyek dalam penelitian ini adalah 5 siswa X MIPA 2 SMAN 1 Sooko Mojokerto yang teridentifikasi memiliki skor penyesuaian yang rendah. nnnnnn Teknik analisis data yang digunakan yaitu non parametrik dengan analisis statistik uji tanda . Berdasarkan hasil analisis data dip...