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关注朋克作为一种文化现象和西德朋克作为演员，通过这样做，朋克在西德的社会形成通常被描述为一种亚文化利基，其背景和历史化。这个项目通过将这种形成及其追随者解读为大众文化中的反叛来对抗这种趋势，朋克们确实玩弄了大众文化的概念，并且没有封闭的世界观，他们总是被视为与其他演员的拦截。 .四主首先，朋克是一种介于抗议、日常生活和商业之间的青年文化；其次，朋克在联邦共和国通过媒体接受和使用在跨国空间中传播。第四，朋克在个性化和现代大众文化之间摇摆不定，青年文化不断吸收跨国媒体的传播，并从欧洲各国和美国汲取灵感。朋克一方面反对另类的环境，反对他们对真实性的欣赏，另一方面他们也拒绝主流社会和大众文化现象，但他们同时采取了大众文化的策略，因此，朋克对消费文化持批判态度。通过揭示这些过程，重要的是认真对待参与者和他们的自我认知，旨在在大众文化中建立个体化的自我关系。表演性的自我形成的实践发挥了核心作用，这就是叛乱获得关注的原因。在取得这些成果的同时，朋克文化的研究格局也发生了变化，以及漫长的档案等待时间和新冠病毒大流行造成的延误。变得非常活跃，导致在美国发现了未知的档案材料。这些文件保证了西德朋克可以在整个分析时期扎根于跨国框架。此外，斯塔西部长的文件。可以看到，这证明东德朋克是这种跨国交流的一部分，必须系统地将这种扩展的材料基础融入到已经获得的见解中。此外，获取受限档案材料的漫长等待时间和新冠病毒造成的不安全感也被系统化。也是干扰项目进展的因素，这就是为什么需要延期。