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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 2005 (has links)
Zugl.: Hamburg, Univ., Diss.

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

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

More than music :

Traulsen, Andrew. 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. 2009 (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).

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

Stewart, Francis Elizabeth 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.

The tumblers a collection of short stories

Marinelli, James M. Unknown Date (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. 2009 (has links)

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

Dymock, Laura. 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.

After the riot : taking new feminist youth subcultures seriously

Wilson, Angela, 1979- 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.

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

Encarnacao, John 2009 (has links)
Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

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