Doing Popular Culture. The Performative Construction of the Goth Scene

场景的出现是基于深远的社会和文化转型过程。在个人化和多元化的背景下，今天的社会行为者处置了与新的社会化形式相联系的多种行动方针和个人代理。20世纪70年代末出现的哥特亚文化可以作为这些新形式的典范。哥特亚文化可以被理解为一个复杂的演员网络的效果，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、特定的审美代码以及特定生活方式和解释世界的方式的谈判，在表演和话语上稳定下来。在这一背景下，由强大的媒体行业形成的流行文化流派的活动发挥着至关重要的作用，通常以规范的方式提供特定形式的表演文化。然而，活动也为创造性或故意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性建构研究项目分析了莱比锡、科伦和希尔德海姆三个典型的场景事件。该研究项目的主要目的是展示一个社会参与者网络是如何通过互动和交流不断复制和转变的。该项目专注于三种不同的文化表演，在不同的物质和象征框架和背景下，考虑到不同的身体和情感体验以及不同的意义网络，它们受到不同表演背景的影响，这些背景受到强大的媒体行业的高度影响。因此，该项目的一个中心目标是，通过以表演为中心的方法，理解节日背景下场景建设和改造的文化逻辑，该项目将其概念化为文化表演和混合集合体。这一视角使文化人类学能够对最近的社会个体化和多元化进程进行文化人类学分析，这些进程特别体现在场景或亚文化的出现中。在概念层面上，该项目还对节日和活动的理论作出了贡献，并在以民族志为导向的比较文化分析的背景下进一步发展了行为学方法。

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.