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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Vom "Punk-Frühling" zum "Slowenischen Frühling" der Beitrag des slowenischen Punk zur Demontage des sozialistischen Wertesystems

Barber-Kersovan, Alenka January 2005 (has links)
Zugl.: Hamburg, Univ., Diss.

'Anarchy in the U.K.' : an analysis of punk rock /

Michalski, Stefan. January 1985 (has links) (PDF)
Thesis (B.A. (Hons))--University of Adelaide, 1985. / Includes bibliographical references (leaves 75-77).

"Punk rock is my religion" : an exploration of straight edge punk as a surrogate of religion

Stewart, Francis Elizabeth January 2011 (has links)
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.

More than music :

Traulsen, Andrew. January 2009 (has links)
Thesis (M.A.)--California State University, Chico. / Includes abstract. "Located in the Chico Digital Repository." Includes bibliographical references (p. 138-145).

Muslim punk rock in the United States a social history of the taqwacores /

Hosman, Sarah Siltanen. January 1900 (has links)
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).

No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985

Dymock, Laura. January 2007 (has links)
In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.

The tumblers a collection of short stories /

Marinelli, James M. January 1900 (has links)
Thesis (M.F.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains v, 109 p. Includes abstract.

Punk aesthetics in independent "new folk", 1990-2008 /

Encarnacao, John. January 2009 (has links)

After the riot : taking new feminist youth subcultures seriously

Wilson, Angela, 1979- January 2004 (has links)
This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism. / The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia. / Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

The Sex Pistols and the London mob

Kitson, Michael E., University of Western Sydney, College of Arts, School of Communication Arts January 2008 (has links)
This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren. / Doctor of Philosophy (PhD)

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