Punk in the Federal Republic of Germany From 1976 to the 1990s. Youth Protest Aganist /With Mass Culture

1976年至20世纪90年代德意志联邦共和国的朋克。

• 批准号: 416116288
• 负责人: Professor Dr. Martin H. Geyer
• 金额: --
• 依托单位: Abteilung für Neueste Geschichte und Zeitgeschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/416116288?language=en
• 关键词: Punk; Federal; Republic; Germany; 1976

The aim of this project is to systematically focus on punk as a cultural phenomenon and West German punks as actors. By so doing, the social formation punk in West Germany is traced. Punk is often described as a subcultural niche, in which context and historicization play a minor role. This project counters this tendency by reading this formation and their followers as a rebellion within mass culture. The punks certainly played with notions of mass culture and did not have a closed worldview. They are always viewed in interception with other actors. Four main points guide the research. First, punk was a youth culture between protest, everyday life and commerce. Second, punk in the Federal Republic was circulating in a transnational space through media reception and usage. Third, there existed transnational, national and local forms of appropriation which took place within the movement (doing punk). Fourth, punk oscillated between individualisation and modern mass culture. The youth culture continuously drew on transnational media transfers and took up inspiration from various European countries and the US. On the one hand, the punks were opposed to the alternative milieu and their appreciation of authenticity. On the other hand, they also rejected mainstream society and the phenomena of mass culture. However, they simultaneously adopted strategies of mass culture. Therefore, punks were critical of consumer culture and fixated on consumption at the same time. By uncovering these processes, it is important to take the actors and their self-perceptions as subjects seriously. The rebellion aimed at the creation of self-relations of individualisation within mass culture. Hence, doing punk, i.e. performative practices of self-formation, played a central role. That is how the rebellion gained visibility.While carving out these results, shifts in the general research landscape as well as delays through long archival waiting times and the Covid19 pandemic occurred. Research in punk cultures became very dynamic, which led to a discovery of unknown archival material in the US. These documents guarantee that the West German punks can be rooted in a transnational framework for the whole analysis period. Furthermore, files of the Ministerium für Staatssicherheit (Stasi) could be viewed, which prove that GDR punks were a part of this transnational exchange. This extended material base must be systematically integrated into the already gained insights. Moreover, long waiting times in getting access to restricted archival material and the insecurity caused by Covid19 were also factors that interfered with the progress of the project. That is why an extension is necessary.

该项目的目的是系统地将朋克作为一种文化现象和西德朋克作为演员。这样，西德的社会形成朋克就被追溯到了。朋克经常被描述为一个亚文化的利基市场，在这种情况下和历史上扮演了次要的角色。该项目通过阅读这种形式及其追随者作为大众文化中的叛乱来反驳这种趋势。朋克肯定带有大众文化的笔记，没有封闭的世界观。他们总是被与其他演员拦截。四个要点指导研究。首先，朋克是抗议，每天生活和商业之间的青年文化。其次，联邦共和国的朋克通过媒体接收和使用在跨国空间中流传。第三，在运动中发生的（做朋克）中存在跨国，民族和地方形式的适当性。第四，朋克在个性化和现代大众文化之间振荡。青年文化继续吸引跨国媒体的转移，并从各个欧洲国家和美国汲取灵感。一方面，朋克反对替代环境及其对真实性的欣赏。另一方面，他们还拒绝了主流社会和大众文化现象。但是，他们只是采用了大众文化的策略。因此，朋克对消费文化持批评态度，并同时对消费固定。通过揭示这些过程，重要的是要认真对待演员及其自我认知。旨在建立大众文化中个性化的自我关系的叛乱。因此，做朋克，即自我形成的表演实践，发挥了核心作用。这就是叛乱获得可见性的方式。在雕刻这些结果时，一般研究格局的变化以及在较长的档案等待时间和COVID19大流行中的延迟发生了。朋克文化的研究变得非常活跃，这导致了美国未知的档案材料的发现。这些文件确保西德朋克可以植根于整个分析期的跨国框架。此外，可以查看部长FürStaatssicherheit（Stasi）的档案，这证明GDR朋克是这种跨国交流的一部分。这种扩展的材料基础必须系统地集成到已经获得的见解中。此外，在获得限制档案材料和COVID19造成的不安全感方面的漫长等待时间也是影响项目进展的因素。这就是为什么需要扩展的原因。