21 January 2010
M.A. Punk was not only a music and fashion phenomenon of the 1970s, but the embodiment of non-conformity, discontent and a do-it-yourself culture that has continued to inspire the alternative youth of successive generations. One new cohort are the post-apartheid punks that provided the focus of this minor dissertation. The following three methods were used to collect qualitative data on South African punks: a qualitative content analysis, observations and semi-structured interviews. A search for the best conceptual tools with which to analyse this information found that previous usage of the concepts ‘subculture’ and ‘scene’ were useful, but inadequate. ‘Identity’ on the other hand, was capable of highlighting and examining the complexities of the punk phenomenon. The history of punk demonstrated that cross-cutting experiences, specific contexts, sub-categorisation and political motivations also contribute to the multiple meanings of punk. Similar influences were found at play in the South African case, but with a few crucial differences. Sub-categorisation was discussed in connection to a general and significant shift from old school to new school punk. The new school outlook is far more fun than the aggressive old school punk attitude of the 1970s. This change in punk culture provides an explanation for why it is that even politically aware punks, rarely make activism a priority. It may also explain why this small, optimistic, good humoured and creative ‘punk family’ do not express the fear and uncertainty normally found in punk collectives. The proudly South African context has also unexpectedly fostered the confidence of these mostly white, male and middle class punks.
Tucker, Brian L.
Thesis (M.A.)--Ohio University, November, 2008. Title from PDF t.p. Includes bibliographical references.
Thesis (M.F.A.)--West Virginia University, 2005. Title from document title page. Document formatted into pages; contains iii, 71 p. Vita. Includes abstract. Includes bibliographical references (p. 69-70).
Cakalak thunder The meaning of anarchy, value, and community in the music of Greensboro's protest drum corpsBright, Crystal Dawn. Gunderson, Frank D. 2006 (has links)
Thesis (M.M.) Florida State University, 2006. Advisor: Frank Gunderson, Florida State University, College of Music. Title and description from dissertation home page (viewed DATE). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.
Hosman, Sarah Siltanen.
Thesis (M.A.)--The University of North Carolina at Greensboro, 2009. Directed by Rebecca G. Adams; submitted to the Dept. of Sociology. Title from PDF t.p. (viewed May 14, 2010). Includes bibliographical references (p. 116-120).
Stewart, Francis Elizabeth
Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.
Uma leitura vertiginosa : os fanzines punks no Brasil e o discurso da união e conscientização : (1981-1995)Milani, Marco Antonio. 2015 (has links)
Orientador: Helio Rebello Cardoso Junior Banca: Karina Anhezini de Araujo Banca: Clóvis Gruner Resumo: 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. Abstract: 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. Mestre
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Thesis (M.A.)--Georgia Southern University, 2004. "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts." ETD. INDEX WORDS: William Gibson, Neal Stephenson, Neuromancer, Snow crash, science fiction, cyberpunk, cyberspace, metaphysics, cyberculture, transrealism. Includes bibliographical references (p. 71-73).
Furgason, Aaron Robert.
Thesis (Ph. D.)--Rutgers University, 2008. "Graduate Program in Communication, Information and Library Studies." Includes bibliographical references (p. 289-315).
Moore, Ryan M.
Thesis (Ph. D.)--University of California, San Diego, 2000. Vita. Includes bibliographical references (leaves 396-415).
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