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.

这个项目的目的是系统地将朋克作为一种文化现象，将西德朋克作为演员。通过这样做，可以追踪到西德的社会形态朋克。朋克经常被描述为一个亚文化利基，在其中，语境和历史化扮演着次要的角色。这个项目通过将这种形式和他们的追随者解读为大众文化中的叛逆，来反驳这种倾向。朋克们当然玩弄着大众文化的概念，并没有封闭的世界观。他们总是被视为与其他演员一起拦截。本研究的指导思想主要有四个。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。第二，联邦共和国的朋克通过媒体的接受和利用，在一个跨国的空间中流通。第三，在这场运动中，存在着跨国、国家和地方形式的挪用(做朋克)。第四，朋克在个性化和现代大众文化之间摇摆。青年文化不断吸收跨国媒体的传播，并从欧洲各国和美国获得灵感。一方面，朋克们反对另类环境和他们对真实性的欣赏。另一方面，他们也排斥主流社会和大众文化现象。然而，他们同时采取了大众文化的策略。因此，朋克在批判消费文化的同时，也专注于消费。通过揭示这些过程，认真对待演员和他们的自我认知是很重要的。叛逆的目的是在大众文化中创造个性化的自我关系。因此，做朋克，即自我形成的表演性练习，起到了核心作用。这就是叛乱变得明显的原因。在取得这些成果的同时，总体研究格局发生了变化，以及漫长的档案等待时间和Covid19大流行造成的延误。朋克文化的研究变得非常活跃，这导致在美国发现了未知的档案材料。这些文件保证了在整个分析期间，西德朋克可以植根于一个跨国框架。此外，可以查看斯塔茨海特部长(Stasi)的文件，证明民主德国的朋克是这一跨国交换的一部分。这一扩展的物质基础必须系统地纳入已经获得的见解。此外，获取受限档案材料的等待时间过长以及Covid19造成的不安全也是妨碍项目进展的因素。这就是为什么延期是必要的。