This master’s thesis suggests that Oi! - lyrically – gives voice to a youth community whose identity lies in everyday working class life. The identity in question is based upon class, gender, sexuality, nationality, and community awareness. As these are intertwined, the thesis shows a more complex genre than that of Matthew Worley’s “Oi! Oi! Oi!: Class, Locality, and British punk”.   On the other hand, using the above categories - derived from the studies of Kathryn Woodward – allows this essay to detect a genre identity made from a distinct “the Same” and “the Other” – us and them, as described by Stuart Hall. The latter consists of members of the middle and upper classes along with all kinds of intellectuals. “The Same” is based upon a common belonging to the working class and its local communities, but also on nationhood. On the contrary, the male gender in general and the male sexuality in particular adds to the idea of Oi!´s “the Same”. In contrast to the idea of “the Same”, Stephen Greenblatt’s idea of dissonance works to explain cracks in the façade of Oi! as explained in the spatiotemporal discourse.  Moreover, Oi!’s “the Same” is quite alike the subaltern of Antonio Gramsci. This concept suggests that the members of the proletariat are too unaware to be ideologically enlightened and therefore their culture expresses the way of working class life as it is, complete with eventual moral flaws. Whereas Gramsci uses the subaltern as a description of the rural proletariat of southern Italy and suggests folklore as the cultural outcome of that particular discourse, this essay aims to use it similarly but with Britain of the 1980’s and Oi! at its focal point.  Furthermore, this essay describes the “Circuit of Culture” - as explained by Woodward - and puts Oi! into that model, which enables an understanding of the genre as an expression of produced, consumed, regulated, and represented identity.  In conclusion, this master’s thesis do not refute Worley´s description of Oi! as a socioeconomic product, but rather adds to that by intertwining Woodward´s categories. The intersectional understanding of Oi! states that class, gender, community, sex, and nationality work together to create a genre, which represents a Gramscian subalternative proletariat. However, Hall’s “the Other” makes it perfectly clear that there is a distinct gap between Oi! and white power-music, which is also proved - throughout the essay -  by the two genres regard to whiteness studies.

The diploma thesis on the theme "Clothing as a report" is divided into two parts, namely theoretical and practical. he aim of the work is to analyze what clothes are meant for man and what importance people attribute to him. It focuses on the emergence and importance of fashion and subculture. For the most part, he deals with punk subculture. In the practical part will be created a set of photographs, responding to the theme of the diploma thesis.

Made available in DSpace on 2015-07-13T12:10:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-02-27. Added 1 bitstream(s) on 2015-07-13T12:25:25Z : No. of bitstreams: 1 000836016.pdf: 933881 bytes, checksum: 5d78960be87b5504a3ba1c958ad31aed (MD5) / 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. / 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.

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.

Made available in DSpace on 2016-12-08T16:59:55Z (GMT). No. of bitstreams: 1 113603.pdf: 7206078 bytes, checksum: 0221741315f405935a1dc69e8c463810 (MD5) Previous issue date: 2013-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / 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.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2011. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-12-02T14:40:01Z No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2011-12-13T14:03:26Z (GMT) No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5) / Made available in DSpace on 2011-12-13T14:03:26Z (GMT). No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5) / Esta dissertação possui como objetivo explicar sociologicamente a transição na vanguarda estética do campo do Rock. Entre 1967 e 1977, o campo do Rock conheceu os períodos de maior sucesso comercial e de prestígio primeiramente do Rock Progressivo e em um segundo momento do Punk Rock. Que motivos sociológicos explicam esta transição? Considera-se aqui que a arte não é uma esferada ilhada e separada do restante da sociedade. Por outro lado, a arte pode possuir, sim, um aspecto mais autonônomo entretanto os desenvolvimentos nos campos artísticos são mediados pelos desenvolvimentos sociais mais gerais. É fundamental para este trabalho a noção de campo de Bourdieu. Se as transições nos campos artísticos são perpassados pelos desenvolvimentos sociais mais gerais isto quer dizer que cada movimento ou vanguarda artística tem de lidar necessariamente com o seu período histórico e com as condições materias objetivas de produção e do capital. Esta preocupação com a estrutura econômica é tratada com base no trabalho do téorico Fredric Jameson. Há uma preocupação em demonstrar desenvolvimentos micro sociais, entretanto estes desenvolvimentos são reconectados aos desenvolvimentos sociais mais gerais. Portanto as sociaibilidades, valores e sentimentos que se desenvolvem entre os atores do campo do Rock e que são analisados neste trabalho são limitados por uma situação objetiva comum de cada tempo histórico. Como conclusão procura-se demonstrar que cada tempo histórico, Modernidade e Pós-Modernidade e cada lógica cultural correspondente modernismo e pós-modernismo mediaram os desenvolvimentos no campo do Rock. ______________________________________________________________________________ ABSTRACT / This work has as main objective to explain in sociological terms the transition in the aesthetics vanguard of the Rock field. The Rock field experienced between 1967 and 1977, first the apogee of Progressive Rock and then the apogee of Punk Rock. Which sociological concepts do explain this transiton? It´s considered in this work that art is not a separated island from the rest of society. The fields of art may be autonomous in a certain way but, this autonomy is not self complet, this means that the developments in the artistic fields are mediated by the social developments in general. It is fundamental for this work the notion of field as conceived by Bourdieu. If the developments in the artistic field are transpassed by the more general social developments, this means that every artistic vanguard has to deal, necessarily, with his historic time and with the material condition of a certain given time. This concern about the economic structure is analysed according the work of the theorist Fredric Jameson. There is a concern about micro social developments, but these developments are reconected to the social developments in capital and society. So, the sociabilitys, values and feelings among the actors of the Rock field are limitades by a given situation of each historic time. As conclusion, I intend to demonstrate that each historic time, Modernity and Post Modernity and each corresponding cultural logic, modernism and post modernism have mediated the developments in the Rock field.

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.

In Spain, the era of political transition to democracy known as La Transición during the 1970s and 1980s led to changes in Spanish popular music (i.e., pop, rock, punk) which became the musical representation of the new democracy’s social and political changes. Two different musical movements of that period, La Movida Madrileña and Rock Radical Vasco, established boundaries between official mainstream music and its musical counterculture counterpart, underground, and subversive musical practices within Spanish democracy. This thesis examines the nature of those musical practices, their song lyrics, and their social and political interpretations, including their influence on current musical practices.

Som aspirerande artist är det ett nålsöga att infria sina drömmar med musiken, många försöker men desto färre lyckas. Syftet med denna kvalitativa studie är att undersöka hur aspirerande artister beskriver sina drömmar med musiken. Studien ämnar dessutom besvara huruvida genretillhörighet upplevs korrelera med hur drömmarna beskrivs. För undersökningen har åtta aspirerande artister intervjuats där hälften är pop-artister medan andra halvan består av alternativa artister (punk och indie). Forskningsresultatet visar att pop-artisterna i regel beskriver större drömmar än de alternativa artisterna. Samtliga respondenter delade dock drömmen om att kunna livnära sig på musiken. Däremot tenderade pop-artisterna att drömma om större summor pengar än de alternativa artisterna som istället nöjde sig med att kunna försörja sig på sitt artisteri. Mellan genrerna delades även viljan att ta musikkarriären så långt som möjligt. Resultatet visar dock att det mellan respondenterna råder delade meningar huruvida genretillhörighet korrelerar med hur de beskriver sina drömmar. Hälfterna av popoch de alternativa artisterna upplevde att genretillhörighet haft en påverkan medan övriga respondenter var osäkra eller inte reflekterat över genretillhörighetens påverkan.

Qui sont les skinheads ? S’agit-il seulement de ces brutes stupides et violentes, xénophobes et racistes sisouvent exposées par les médias ? Qu’en est-il alors de ces premiers skinheads qui, à la fin des années 1960,affectionnaient tant la musique jamaïcaine qu’ils contribueront à sa diffusion et à son succès à travers toutel’Angleterre ? Que s’est-il passé entre ces années 1960 et les années 1980 qui verront l’apparition du phénomènenaziskin ? Il y a t-il une unité du mouvement skinhead ou seulement une juxtaposition de mouvances ?Qu’est-ce qui peut unir les skinheads entre eux, à travers les générations et au-delà de leurs divisions ?Afin d’apporter des réponses à ces questions, le présent travail présentera, dans une première partie, unhistorique du mouvement skinhead qui permettra de suivre et de comprendre son évolution depuis ses originesen faisant ressortir le rôle important que jouera la musique dans toutes ses mutations successives etdans sa dérive politique. Suivra ensuite, dans une seconde partie, une analyse des éléments constitutifs dela subculture skinhead – à commencer par sa constante référence à la classe ouvrière exhibée au travers deses formes stylistiques, son rapport à la violence symbolique ou réelle, les valeurs qu’elle prétend incarneret défendre – et ses incidences idéologiques. La dernière partie sera consacrée à un travail de terrain menéprincipalement en France qui fera apparaitre, au moyen d’entretiens et d’observations, comment se vit,s’organise et se représente ce milieu skinhead.Il s’agira donc de révéler le mouvement skinhead sous ses différents aspects mais aussi de montrer ce quepeut révéler ce mouvement de mode devenu phénomène social quant aux processus de radicalisation, demédiatisation et de diabolisation. / Who are the skinheads ? Are they just these brainless, violent, xenophobic and racist bullies, who are sooften exposed in the media ? What about the very first skinheads who, near the end of the 1960s, were sofond of Jamaican music that they contributed to its spreading and success all over England ? What happenedbetween the 1960s and the 1980s, when the nazi skinhead phenomenon appeared ? Is there only one skinheadmovement or is it made up of many trends ? What makes the skinheads a group as a unified whole, beyondits divisions ?To answer these questions, the first part of this thesis will provide a background history of the skinheadmovement so as to follow, and understand, its evolution since its origins. It will emphasise on the role playedby music on both its successive mutations and its political drift. In a second part, it will analysed the variouselements which constitute the skinhead subculture - from its constant reference to the working-class displayedthrough its stylistic forms, its link to symbolic or actual violence, and the values it claims to embody andfight for – to its ideological consequences. The last part will be dedicated to fieldwork carried out mainlyin France and which will show, thanks to interviews and observations, how the skinhead community lives,organises and sees itself.The purpose of this study is not only to reveal the skinhead movement in its various forms but also todemonstrate what this stylistic social phenomenon, can reveal in terms of radicalisation, media coverageand demonization.