Thesis (M.S.) in Communication--University of Maine, 2006. / Includes vita. Includes bibliographical references (leaves 110-112).

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.

The following thesis investigates the British punk movement of the mid-late seventies and suggests that, by performing acts of imaginative re-identification, we may gain greater insights into both the phenomenon of punk and aspects of Jesus’ life, ministry, and teaching despite their axiomatic and sometimes problematic differences. To do this we explore the power of the sartorial creations that the movement adopted and the way in which they conveyed an oppositional protest message and stance. We explore punk graphics and the way in which they could offer a targeted critique of the nation. We look at punk performances and how they confrontationally engaged with their audiences and what they wanted to elicit in return. We reflect on women in punk, punk in Northern Ireland and the relationship between punk and the black community and the degree to which punk exhibited a counter-cultural attitude to relationships. Concluding our look at punk we investigate how society, the authorities and commerce reacted to the movement, before investigating punk as a trans-historical essence. Having explored punk and established imaginative connections we then revisit aspects of Jesus’ life and consider him as a subversive who negated some of the national symbols of Israel, collided with Jewish national authority and reversed many of the nation’s perspectives. We look at the more confrontational nature of Jesus, his use of symbolic physical statements and his interaction with women, teaching on enemies and the way he related to the outcast. We then conclude by showing the degree to which the present-day church has been absorbed into the surrounding culture and explore two instances in post-war theology where there has been a recovery of the more seditious pattern within Jesus’ life before seeing whether there is anything that the church may learn from imaginatively identifying with punk.

In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265). / Also available by subscription via World Wide Web / xii, 265 leaves, bound ill. 29 cm

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Made available in DSpace on 2015-05-14T13:27:06Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8208772 bytes, checksum: 6418bc3f0e3532107d9d8d8ac64b836f (MD5) Previous issue date: 2008-07-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Tis work is consequence of a research based on the participant observation method, complemented by a posture of observant participation, which objective was to understand, through an analysis of cultural and polictic-social activities organized by7 two collective actor in the anarchic punk scene in João Pessoa city, the processes through which these, inspired in the punk culture and in the anarchist ideology, build in their movement an alternative autonomist and contra cultural of organization that is contradiction to the hierarchical and bureaucratic models of the current official politics. Also it contradicts the industrial culture and its mass culture. . Trying to understand the peculiar style of organization of activities and events propagandized by collective actors in the mentioned scene, it was made a theoretic debate among urban sociologists and anthropologists that study young cultures and social movements, including some that wrote about movements anarchist, punk and anarch-punk. In this research it was also analyzed militancy source materials, such as informative bulletins, reports of anarchpunk meeting of the northeast region of Brazil and websites of anarch-punk organizations. Based in the research efforts, we realized that the style of organization of the anarch-punk acting in the João Pessoa scene, creates a new style of actuation influenced however different of the styles anarchist and punk. That happens because it is mixed in their activities cultural and polictic-social elements and aspects that before is only found separated or absent in each of these two styles of actuation. / Este trabalho é fruto de uma pesquisa embasada no método da observação participante, complementado por uma postura de participação observante, que objetivou compreender, através de uma análise das atividades culturais e polícito-sociais organizadas por dois coletivos atuantes na cena anarco-punk da cidade de João Pessoa/PB, os processos através dos quais estes, inspirados na cultura punk e na ideologia anarquista, constroem em suas movimentações uma alternativa autonomista e contracultural de organização que se contrapõe aos modelos hierárquicos e burocráticos das políticas oficiais da sociedade vigente, contrapondo-se também à indústria cultural e sua cultura de massas. procurando compreender este estilo peculiar de organização das atividades e eventos protagonizados pelos coletivos atuantes na referida cena, realizei um debate teórico com sociólogos e antropólogos urbanos estudiosos das culturas juvenis e dos movimentos sociais, dentre estes alguns que escreveram sobre os movimentos anarquista, punk e anarco-punk. Nesta pesquisa ainda foram analisados materiais de militância como boletins informativos, relatórios de encontros anarcopunks da região nordeste do Brasil e sites de organizações anarco-punks. Com base nesses esforços de pesquisa, cheguei ao entendimento de que o estilo de organização dos anarco-punks atuantes na cena de João Pessoa, funda um "novo" estilo de atuação, influenciado, mas diferente dos estilos de atuação anarquista e punk, ao mesclar em suas atividades elementos e aspectos culturais e político-sociais que antes se encontravam separados ou ausentes em cada um desses dois estilos de atuação.