This study investigates presence of religion in Hardcore/Punk. While Hardcore/Punk traditionally is a secular subculture, study investigates how bands with religious agendas claim space within this subculture and the attitudes they encounter within it. That is, how they relate to the subculture, and consequently the mainstream culture. Further, the study takes interest in how non-religious bands relate to religious history, institutions and faith. This is done through a qualitative content analysis of lyrics from American hardcore/punkbands between 1986-2007. The bands investigated devote themselves to one of the three beliefs: Hare Krishna, Christians or Non-believers. The main findings are that hardcore/punk bands, despite of religion, share common ground. They all carry strong convictions, share the same artistic expressions and make use of the same language. Yet, the respective convictions, grounded in different religious worldviews, sometimes clash. Religious as well as nonreligious bands express the same attitudes to a large extent, even though these attitudes are grounded in different worldviews (e.g., religious or political). However, in spite such differences, they still have managed to share space within the subculture. What we see is that the two religious’ groups of Hare Krishna and Christians make themselves, through their presence in hardcore/punk, subcultures within a subculture.

A presente pesquisa debruçar-se-á sobre o documentário Punk Molotov (1983-1984), dirigido por João Carlos Rodrigues, produção audiovisual que acompanha a expressão musical da banda carioca Coquetel Molotov (1981-1984). Tendo-se como escopo a discussão do modelo de sujeito anarcopunk que tal produção audiovisual constrói em seu enredo, buscar-se-á perquirir como as subjetividades são projetadas pelo diretor, que se apropria intuitivamente de referenciais anarquistas para mostrar a trajetória dos sujeitos no movimento punk da zona norte da cidade do Rio de Janeiro. A problemática que norteará a investigação pode ser formulada da seguinte forma: como as concepções acerca do visual, musicalidade, esporte e ideologia anarquista desenvolvidas no registro de uma banda punk do Rio de Janeiro podem sinalizar a construção do arquétipo de um sujeito alternativo? Como o processo de formação do sujeito anarcopunk é descrito no bojo do documentário? Tomando-se como referencial o filósofo Félix Guattari e sua teoria sobre a micropolítica, pretende-se questionar em que medida o modelo de sujeito proposto pelo diretor se coaduna a uma valorização da ação direta, microscópica, no cotidiano da contemporaneidade. A interpretação do documento audiovisual ocorrerá por meio do cotejo dos discursos, músicas e imagens nele contidos e parte da teoria desenvolvida por autores pós-estruturalistas. / This research will investigate the Punk Molotov (1983-1984) documentary, directed by João Carlos Rodrigues, audiovisual production about the musical expression of Coquetel Molotov (1981-1984) band. Having as scope to discussion of the anarcho-punk archetype such audiovisual production builds on its plot, will be sought as to assert subjectivities are designed by the director, who intuitively appropriates anarchists referentials to show the trajectory of the subjects on the move Punk north of the city. The issues that will guide the research can be formulated as follows: how conceptions of visual, musicality, sports and anarchist ideology developed in the record of a punk band from Rio de Janeiro may signal the construction of the archetype of an alternative subject? As the process of \"formation\" of the subject is described anarcho-punk in the wake of the documentary? Taking as reference the philosopher Félix Guattari and his theory of micropolitics, we intend to question to what extent the subject model proposed by the director in line with a recovery of direct, microscopic action in the contemporary everyday. The interpretation of audiovisual document will occur through the collation of speeches, music and images contained therein and part of the theory developed by poststructuralist authors.

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia. / Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.

Made available in DSpace on 2016-04-26T18:15:21Z (GMT). No. of bitstreams: 1 Victor Otavio Carvalho Marques.pdf: 4590420 bytes, checksum: ff028f0c56dac2ab04dee666e2e312ce (MD5) Previous issue date: 2015-11-27 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present work aims to analyze the way that the British punk rock from the 1980‟s be part of our culture. Its intent is embrace a marginal cultural process through and from disposed phonographic elements. It is urgent this discussion by this cover possible composites to the observation of our mediatic, especially in music, on the end of the XX century, that the changes, mostly technical, progress faster. We contrast, as a hypothesis, that this subscription to the margins of culture is descendant of choices of each group analyzed here made instead of fame, figuring another relationship with the cultural development previewed by Iuri Lótman. Therefore, we embraced theoretical apparatus divided in two big parts: studies about the voice and its insertion in cultural series that it makes part and different cultural studies. We jut, here, the figures of Paul Zumthor, the aforementioned Iuri Lótman, Jesús Martín-Barbero, Walter Benjamin, Giorgio Agamben and Jerusa Pires Ferreira. The conclusion we point is a change of all the musical production scheme nowadays, this market having known radical changes and counter devices tacit for the undergrounds created by pun rock / O presente trabalho visa analisar a maneira pela qual o punk rock britânico da década de 1980 se insere em nossa cultura. Seu objetivo é enfocar um processo cultural marginal através e a partir de elementos dispostos em materiais fonográficos. Faz-se urgente tal discussão por esta abarcar compósitos possíveis para observar nossa construção mediática, sobretudo musical, em fins do século XX, cujas mudanças, principalmente de ordem técnica, avançavam velozmente. Destacamos, como hipótese, que essa adesão às margens da cultura seja proveniente de escolhas que cada um dos grupos aqui analisados fez em detrimento da fama, figurando uma relação diferente com o desenvolvimento cultural das fronteiras, formulação prevista sobretudo por Iuri Lótman. Para tanto, munimo-nos de aparatos teóricos que se dividem em duas grandes frentes: estudos da voz e da cultura. Ressaltamos aqui as figuras de Paul Zumthor, o já mencionado Iuri Lótman, Jesús Martín-Barbero, Walter Benjamin, Giorgio Agamben e Jerusa Pires Ferreira, que integram todos os passos deste texto. A conclusão que apontamos é haver uma mudança em todo o esquema de produção musical nos dias de hoje, tendo este mercado conhecido alterações radicais e contradispositivos tácitos vigentes nos undergrounds edificados pelo punk rock

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia. / Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.

This thesis describes and analyses the politics of the Australian DIY anarcha-punk scene and the ethos of the culture's participants. Eschewing the orthodox sub-cultural approach which situates 'punk' within a structuralist hegemony / resistance paradigm, the thesis uses participant observation and textual analysis techniques to understand the role played by zines (hand made publications) in fostering the intellectual and ethical capacities needed to participate in the Australian DIY anarcha-punk scene. The zines, in their deviation from classical anarchism, often invoke concepts of power and 'the political' analogous with those of poststructuralist theory, yet DIY anarchist politics also diverge from poststructuralism. I therefore address DIY anarchist politics by questioning the significance of these inconsistencies with Theory. In doing so I am led to suggest that the zines may be more usefully approached as elements in the ethico-political practice of DIY anarchism, which nonetheless draws on the 'conceptual vocabulary' of much poststructuralism, as well as other theoretical approaches. Thus I re-describe DIY anarchism as an ethos which seeks to argue for its agendas and values on non-foundational terms. Further, I demonstrate that by pursuing an ethos of 'autonomy', the culture's participants seek to develop their intellectual and ethical capacities through a self-consciously 'developmental' engagement of power relationships, in the form of DIY 'prefiguration' or exemplification. Following the preoccupation with gender politics in the zines and the wider scenes, I describe the approach to gender politics in similarly ethico-political terms, drawing likewise on various elements of poststructuralist and other theories. I show this feminist ethical practice to be based on assumptions about gender which embody a certain poststructuralist approach to 'gender', one that is predicated on the material effects of a discursively congealed gender structure, but forms part of an ethos aiming to deconstruct this structure. By re-describing the political approaches of these zines in reference to various theoretical perspectives and ethico-political practices, I am able to offer perspectives to the culture in question, as well as to the interdisciplinary academic context within which I am writing.

<p>This thesis describes how the punk movement was started in Sweden and how it continued to grow in the late 70's. The main questions are: How was the punk movement regarded in Sweden?; How did punk reflect the society? and What does the term punk represent?</p><p>The study is based on journalistic texts in newspapers and magazines from the period of the breakthrough of punk. The work is based on a methodical review of the material and is organized thematically under topics like opinions, gigs, clothing and music. Initially, punk lead to misunderstandings and misperceptions since few people knew what punk was all about. The study reflects society in its time and is therefore more than just a caption of history.</p><p>Punk attracted much attention in Sweden in 1977 and in its wake came a number of misunderstandings due to the punk look and the ‘punks’ alleged views. During 1978, the punks got their own Swedish identity and a lot of the misconceptions started to disappear. In time, ties were tied between the former rivals, the punk, and the Swedish music movement (Musikrörelsen). The situation changed by the principle of 'Do it yourself' (DIY) in the punk when more young people started doing something for themselves rather than being passive.</p>

This thesis describes how the punk movement was started in Sweden and how it continued to grow in the late 70's. The main questions are: How was the punk movement regarded in Sweden?; How did punk reflect the society? and What does the term punk represent? The study is based on journalistic texts in newspapers and magazines from the period of the breakthrough of punk. The work is based on a methodical review of the material and is organized thematically under topics like opinions, gigs, clothing and music. Initially, punk lead to misunderstandings and misperceptions since few people knew what punk was all about. The study reflects society in its time and is therefore more than just a caption of history. Punk attracted much attention in Sweden in 1977 and in its wake came a number of misunderstandings due to the punk look and the ‘punks’ alleged views. During 1978, the punks got their own Swedish identity and a lot of the misconceptions started to disappear. In time, ties were tied between the former rivals, the punk, and the Swedish music movement (Musikrörelsen). The situation changed by the principle of 'Do it yourself' (DIY) in the punk when more young people started doing something for themselves rather than being passive.

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.

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.