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Doing Popular Culture. The Performative Construction of the Goth Scene

做流行文化。

基本信息

批准号：
325269992
负责人：
Professor Dr. Markus Tauschek
金额：
--
依托单位：
Institut für Kulturanthropologie und Europäische Ethnologie
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2017
资助国家：
德国
起止时间：
2016-12-31 至 2020-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/325269992?language=en
关键词：
Doing Popular Culture.Performative Construction

项目摘要

The emergence of scenes is based on far-reaching social and cultural transformation processes. In the context of individualisation and pluralisation, social actors today dispose of a multitude of courses of action and individual agency linked to new forms of socialisation. The emergence of goth subculture at the end of the 1970ies may serve as a paradigmatic example for these new forms. Goth subculture can be understood as the effect of a complex network of actors, which is performatively and discursively stabilised by collectively shared symbols, by the consumption of different music styles, by a specific repertoire of material culture, by specific aesthetic codes and the negotiation of specific lifestyles and ways of interpreting the world. In this context, events as genres of popular culture that are formatted by a powerful media industry play a crucial role and offer only specific forms of performative culture, often in normative ways. However, events also offer symbolic spaces for creative or wilful appropriation. The actor-centered research project on the performative construction of goth subculture analyses three typical events of the scene in Leipzig, Köln and Hildesheim. The main purpose of the research project is to show how a network of social actors is constantly reproduced and transformed through interaction and communication. The project focusses on three different cultural performances in different material and symbolical frames and settings considering various bodily and emotional experiences and different webs of meaning which are influenced by different performative contexts which are highly influenced by a powerful media industry. Hence, a central goal of the project is, through a performance-centered approach, to understand the cultural logics in the construction and transformation of a scene in the context of festivals, which the project conceptualises as cultural performances and as hybrid assemblages. This perspective enables a cultural anthropological analysis of recent social individualisation and pluralisation processes which particularly are materialised in the emergence of scenes or subculture. On a conceptual level, the project additionally contributes to theories of festivals and events and further develops praxeological approaches in the context of an ethnographically oriented, comparative cultural analysis.

场景的出现是基于深远的社会文化转型过程。在个性化和多元化的背景下，今天的社会行动者处理了与新形式的社会化相关的大量行动和个人代理。20世纪70年代末哥特亚文化的出现可以作为这些新形式的范例。哥特亚文化可以被理解为一个复杂的演员网络的影响，它通过集体共享的符号、不同音乐风格的消费、特定的物质文化曲目、特定的审美规范、特定生活方式和解释世界的方式的协商，在表演和话语上稳定下来。在这种背景下，事件作为流行文化的类型，被强大的媒体行业格式化，发挥着至关重要的作用，只提供特定形式的表演文化，通常以规范的方式。然而，事件也为创造性或故意的挪用提供了象征性的空间。以演员为中心的哥特亚文化表演建构研究项目分析了莱比锡、Köln和希尔德斯海姆三个典型场景事件。该研究项目的主要目的是展示社会行为者网络如何通过互动和沟通不断地复制和转化。该项目侧重于三种不同的文化表演，在不同的材料和象征框架和背景下，考虑到不同的身体和情感体验以及受不同表演环境影响的不同意义网络，这些环境受到强大的媒体行业的高度影响。因此，该项目的中心目标是通过以表演为中心的方法，了解节日背景下场景的构建和转换中的文化逻辑，该项目将其概念化为文化表演和混合组合。这一视角能够对最近的社会个体化和多元化过程进行文化人类学分析，特别是在场景或亚文化的出现中具体化。在概念层面上，该项目还为节日和活动的理论做出了贡献，并在以民族志为导向的比较文化分析背景下进一步发展了行动学方法。