The afterlife of punk: Evental sites of punk 77

Q1 Arts and Humanities
K. Cashell
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引用次数: 0

Abstract

Building on the argument of my previous article ‘Autonomy and agency: The event of punk 77’, this article defends the continuing political relevance of punk. Rejecting the dominant story that punk was a utopian, short-lived revolution, over before it had a chance to effect any social change, I argue that punk survives through people who, radicalized by its vision of cultural agency, motivate revolutionary ‘ways of being’ committed to realizing and transmitting that vision to others. The subjects of 77 are heir to a revolutionary tradition, choosing to ‘keep’ punk ‘alive’ through fidelity to its inaugural event; a fidelity that involves renewed acknowledgement of the ‘subversive’ dimension of the event’s original ‘epochal rupture’. Two case studies are offered in support of this argument. An account of the eruption of a punk scene in the provincial town of Drogheda in Ireland in the early 1980s, followed by discussion of the specific way punk engaged young women, a case study based on interviews with Gina Birch, founding member of first-generation all-female punk band the Raincoats. I conclude by recasting the legacy of punk as a tradition of revolutionary inheritance.
朋克的来世:77年朋克的活动场所
基于我之前文章“自治与代理:朋克77事件”的论点,本文为朋克的持续政治相关性辩护。我不认为朋克是一场乌托邦式的、短暂的革命,在它有机会影响任何社会变革之前就结束了,我认为朋克的生存是通过那些被其文化代理的愿景激进化的人,他们激发了革命性的“存在方式”,致力于实现并向他人传播这种愿景。77的主题是革命传统的继承人,选择通过忠实于其首届活动来“保持”朋克的“活力”;这种忠诚涉及对事件最初的“划时代破裂”的“颠覆性”维度的重新承认。本文提供了两个案例研究来支持这一论点。本书描述了20世纪80年代初爱尔兰德罗赫达(Drogheda)省镇爆发的朋克风潮,随后讨论了朋克吸引年轻女性的具体方式,这是一个基于对第一代全女性朋克乐队“雨衣”(Raincoats)创始成员吉娜·伯奇(Gina Birch)采访的案例研究。最后,我将朋克的遗产重新定义为一种革命性的继承传统。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Punk and Post-Punk
Punk and Post-Punk Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.60
自引率
0.00%
发文量
35
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