DOCSLIB.ORG

Tr Te Comtest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

I I 11 TUESDAY, NOVEMBER 4, 1986 The Teeh PAGE 7 --- ARTSA R T S "Sid & Nancy" a unique romance in the midst of the punk culture SID & NANCY in the conventions of documentaries, "Sid evolved from the anarchistic, selfish, and because it is a remnant of the free love, Directed by Alex Cox. & Nancy" clearly takes sides. destructive punk culture, but it is even hippie era - and romance certainly Starring Gary Oldman and Chloe Webb. The story of Sid and Nancy is relatively more odd that this film should present that seemed part of the upper-crust culture Opens November 7. well known. Sid Vicious was the bass play- romance in a sympathetic manner. against which the punks were rebelling. ____________ ~er for the British punk rock group, the Sex Punk culture tried to rebel against any Moreover, although Sid and Nancy's rela- By PETER DUNN Pistols. He lived up to his name, being activity considered normal - Sid even re- tionship is in no way presented as a nor- known for self-inflicted torture anrrd for fuses at one point to have sex with Nancy mal romance, it is unquestionable that the xW-t THAT MAKES "SID & NANCY" taking after journalists with bicycle chain two are actually in love. Cox turns the different from other rock and guitar. He was not a terribly good mu- them into Juliet and Romeo figures, lovers "docudramas" is not so sician, taking hours to learn a simple tune, locked in a destructive race toward death. much its theme. It is about but was defiantly dynamic on stage. Nancy More than its presentation of a love sto- Sid Vicious and Nancy Spungen, about Spungen was an American groupie who ry in a culture where one would believe a punk rocker and groupie, and as such can- met Vicious in London, and the two even- love story could never evolve, "Sid & Nan- not completely avoid the punk rock scene tually became lovers and partners in her- cy" is a film which clearly takes an emo- in which their relationship developed; but oin addiction. When the Pistols 'broke up tional stance. Cox chooses very carefully however much punk rock at its inception in 1977, Sid and Nancy moved to New those parts of Sid's and Nancy's lives he was radically different from any previous York where they tried to establish a solo wishes to depict so as to best get his points form of rock music, this film's uniqueness career for Sid. In 1978 Nancy was stabbed across. We feel comfortable in the film's does not stem so much from that differ- to death in their hotel room and Sid ar- depiction of reality until our senses are ence than it does from the unusual way in rested for her murder. Five months later, jarred by scenes of "ordinary" life (for ex- which it presents its subject matter. before he could be brought to trial, Sid ample when Sid and Nancy attempt to vis- Alex Cox, who previously made the bi- died of a drug overdose. it her grandparents for Thanksgiving) at zarre but amusing "Repo Man," has ig- This brief summary does n6t even begin which point we begin to question how at nored the usual conventions of the "docu- to tell the entire story of what "Sid & Nan- ease we really are with what we are seeing. drama" by making his film more than cy" is aboout. The film deals hardly, if at In addition to this disquieting presenta- simply an objective observation of the life all, with the story of the Sex Pistols: the tion of storyline, Cox takes free rein to in- and times of its main characters. Whereas group and its history are little more than a corporate dream sequences and extremely most "docudramas" try to present an emo- backdrop to the enfolding romance be- stylized shots in the film, both atypical bf tionless, unbiased view of their subject tween the two main characters. It seems the "docudrama" genre, which make what matter, hence making them more realistic odd that any romance at all could have Gary Oldman as Sid Vicious (Please turn to page 9) The Tech proudly presents... | .fe d The Tech Performing Arts Series stal -A'| a service for the entire MIT community from The Tech, in conjunction with the Technology Community Association, MIT's student community service organization. Special reduced-price tickets now available for thefollowing November events: Musica Antiqua Kil51n , Cantata Singers Cologne-based Musica Antiqua, led by Reinhard Goebel, The world premiere of MIT Professor John Harbison's is one of the world's leading early music ensembles. They Flight into Egypt will be part of the concert of the Canta- will perform Italian violin music- from the 17th and 1t-h- - ta-Singers in Jordan Hall, Friday, Nov. 21, 8 pm. Also centuries (including works by Gabrieli, Fontana, Albinoni featured: Bach's cantata Wachet Auf, BWV 64, and short and Vivaldi) at Jordan Hall, New England Conservatory, pieces by Schiitz. MITprice: $5.] Saturday, Nov. 8, 3:30 pm. MIT price: $5. Rf~ ~ SinfoNova Music of Soviet and American composers is featured in Pinchas Zukerman the SinfoNova Chamber Orchestra's opening concert of Virtuoso violinist Pinchas Zukerman will appear in a their 1986-1987 season. The concert is part of the Ameri- Wang Celebrity Series recital in Symphony Hall on Nov. can Music Week celebration. Tuesday, Nov. 11, Jordan 23, 3 pm. The program contains works of J. S. Bach, Hall, 8 pm. MIT price: $5. Brahms, Takemitsu and Faure. MITprice: $5. Tickets will be sold by the Technology Community Association, W20-450 in the Student Center. If nobody is in, please leave your order and your phone number on the TCA answering machine at x3-4885. a111~~~~~~' ~~Youwill be called back as soon as possible. The Butterfly' System from BBN Advanced Computers Inc., -utilizes BEN's proprietary switching architecture to join upto 256 general purpose microprocessors,creatinga So e schools have the Rose very powerful, high performance parallel processor. We B ow l. have the following newly-created position available: Systems Manager You'll play akey role inensuring computer resources within -W&Ave 9ot 2.70! a dynamic engineering and research environment. You'll be working with VAX, Sun, Symbolics. and assorted peripherals running UNIX' 4.2, VMS, and/or ULTRIX", and you'll be responsible for purchasing, configuration, installation and operation of computer hardware, as well as support for O/S and utility software. Qualified candidates W atch for the first will have at least 2 years' operations experience, with annua thorough knowledge of UNIX'. BSCS is required. Bolt Beranek and Newman designs and builds wide area digital communications networks; offers research, develop- ment and consulting services in computer systems, infor- 2.7 p arty - mation sciences and physical sciences; and develops and markets packaged software products. 2 N v mr 1 BBNAdvancedComputersl Inc. offers competitive salaries o v eer, and an outstanding benefits package including tuition reimbursement, 3 weeks' vacation and an employee stock purchase plan. Qualified candidates should forward resume or call Nancy Rogoff at 497-2496. BBN Advanced Computers Inc. j t tr t e comtest _- _ _ _ =10 Fawcett Street, Cambridge, MA 02238 -- - _- _--- -An Equal Opportunity Employer M/F/H/V ]-TE.
Recommended publications
  • The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College

    The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
  • PUNK/ASKĒSIS by Robert Kenneth Richardson a Dissertation

    PUNK/ASKĒSIS by Robert Kenneth Richardson a Dissertation

    PUNK/ASKĒSIS By Robert Kenneth Richardson A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies MAY 2014 © Copyright by Robert Richardson, 2014 All Rights Reserved © Copyright by Robert Richardson, 2014 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of Robert Richardson find it satisfactory and recommend that it be accepted. ___________________________________ Carol Siegel, Ph.D., Chair ___________________________________ Thomas Vernon Reed, Ph.D. ___________________________________ Kristin Arola, Ph.D. ii ACKNOWLEDGEMENTS “Laws are like sausages,” Otto von Bismarck once famously said. “It is better not to see them being made.” To laws and sausages, I would add the dissertation. But, they do get made. I am grateful for the support and guidance I have received during this process from Carol Siegel, my chair and friend, who continues to inspire me with her deep sense of humanity, her astute insights into a broad range of academic theory and her relentless commitment through her life and work to making what can only be described as a profoundly positive contribution to the nurturing and nourishing of young talent. I would also like to thank T.V. Reed who, as the Director of American Studies, was instrumental in my ending up in this program in the first place and Kristin Arola who, without hesitation or reservation, kindly agreed to sign on to the committee at T.V.’s request, and who very quickly put me on to a piece of theory that would became one of the analytical cornerstones of this work and my thinking about it.
  • Andy Higgins, BA

    Andy Higgins, BA

    Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support.
  • “Punk Rock Is My Religion”

    “Punk Rock Is My Religion”

    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
  • Contradictionary Lies: a Play Not About Kurt Cobain Katie

    Contradictionary Lies: a Play Not About Kurt Cobain Katie

    CONTRADICTIONARY LIES: A PLAY NOT ABOUT KURT COBAIN KATIE WALLACE Bachelor of Arts in English/Dramatic Arts Cleveland State University May 2012 Master of Arts in English Cleveland State University May 2015 submitted in partial fulfillment of requirements for the degree MASTER OF FINE ARTS IN CREATIVE WRITING at the NORTHEAST OHIO MFA and CLEVELAND STATE UNIVERSITY May 2018 We hereby approve this thesis For KATIE WALLACE Candidate for the MASTER OF FINE ARTS IN CREATIVE WRITING degree For the department of English, the Northeast Ohio MFA Program And CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ________________________________________________________________ Thesis Chairperson, Imad Rahman ____________________________________________________ Department and date _________________________________________________________________ Eric Wasserman _____________________________________________________ Department and date ________________________________________________________________ Michael Geither ____________________________________________________ Department and date Student’s date of defense April 19, 2018 CONTRADICTIONARY LIES: A PLAY NOT ABOUT KURT COBAIN KATIE WALLACE ABSTRACT Contradictionary Lies: A Play Not About Kurt Cobain is a one-act play that follows failed rocker Jimbo as he deals with aging, his divorce, and disappointment. As he and his estranged wife Kelly divvy up their belongings and ultimately their memories, Jimbo is visited by his guardian angel, the ghost of dead rock star Kurt Cobain. Part dark comedy,
  • English II. Teacher's Guide [And Student Workbook]. Revised

    English II. Teacher's Guide [And Student Workbook]. Revised

    DOCUMENT RESUME ED 462 790 EC 308 857 AUTHOR Fresen, Sue, Ed. TITLE English II. Teacher's Guide [and Student Workbook]. Revised. Parallel Alternative Strategies for Students (PASS). INSTITUTION Leon County Schools, Tallahassee, FL. Exceptional Student Education. SPONS AGENCY Florida State Dept. of Education, Tallahassee. Bureau of Instructional Support and Community Services. REPORT NO ESE-5200.A; ESE-5200.B PUB DATE 1998-00-00 NOTE 640p.; Course No. 1001340. Part of the Curriculum Improvement Project funded under the Individuals with Disabilities Education Act (IDEA), Part B. AVAILABLE FROM Florida State Dept. of Education, Div. of Public Schools and Community Education, Bureau of Instructional Support and Community Services, Turlington Bldg., Room 628, 325 West Gaines St., Tallahassee, FL 32399-0400 (Teacher's guide, $4.40; student workbook, $12.95) . Tel: 800-342-9271 (Toll Free); Tel: 850-488-1879; Fax: 850-487-2679; Web site: http://www.leon.k12.fl.us/public/pass. PUB TYPE Guides Classroom Learner (051) Guides Classroom - Teacher (052) EDRS PRICE MF03/PC26 Plus Postage. DESCRIPTORS *Academic Accommodations (Disabilities); Communication Skills; *Disabilities; *English; *Language Arts; Learning Activities; Literature; Reading Comprehension; Secondary Education; *Slow Learners; Teaching Guides; Teaching Methods; Writing (Composition) IDENTIFIERS *Florida ABSTRACT This teacher's guide and student workbook are part of a series of content-centered supplementary curriculum packages of alternative methods and activities designed to help secondary students who have disabilities and those with diverse learning needs succeed in regular education content courses. The content of Parallel Alternative Strategies for Students (PASS) materials differs from standard textbooks and workbooks in several ways. Simplified text, smaller units of study, reduced vocabulary level, increased frequency of drill and practice exercises, less cluttered format, and presentation of skills in small, sequential steps.
  • Origins of Rock the Seventies

    Origins of Rock the Seventies

    from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated encyclopedia of rock FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists , Designer: Mike Spender and Jake The sunshine 1960s were followed by the comparatively grey 1970s. organised by decade: Sixties, Picture Research: Gemma Walters Yet a number of stars of that drab decade started their Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker life in the 1960s. 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, Karen Fitzpatrick, Rosanna Singler and Catherine Taylor In Britain, the chameleon-like David Bowie suffered several musical genres, such as David Bowie ........................................4–5 years of obscurity, Status Quo were psychedelic popsters yet to soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 discover 12-bar blues, while Humble Pie was formed by The Eagles ..........................................6–7
  • Black & Brown Women of the Punk Underground

    Black & Brown Women of the Punk Underground

    Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 11-2018 Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Aucone, Courtney, "Game Changers & Scene Makers: Black & Brown Women of the Punk Underground" (2018). Women's History Theses. 37. https://digitalcommons.slc.edu/womenshistory_etd/37 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Thesis Seminar Dr. Mary Dillard December 6, 2018 Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, December 2018 Table of Contents: Acknowledgements……………………………………………………………………………………….…......1 Introduction…………………………………………………………………………………………………….…..2 v A Note on Methodology…………………………………………………………………………………21 Chapter I: “A Wave of History”…………………………………………………………………………... 26 Chapter II: The Underground…………………………………………………………………………….. 51 Chapter III: “Somos Chulas, No Somos Pendejas”: Negotiating Femininity & Power in the Underground……………………………..…………………………………………………………………70
  • Punk Fashion in Canada

    Punk Fashion in Canada

    PUNK FASHION IN CANADA: THE TRANSLATION OF AN INTERNATIONAL SUBCULTURE A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by KATIE VICTORIA GREEN In partial fulfilment of requirements for the degree of Master of Arts April, 2011 © Katie Victoria Green, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-88934-3 Our file Notre reference ISBN: 978-0-494-88934-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
  • Course Syllabus

    Course Syllabus

    Professor Louie Dean Valencia English 1102, R15 [email protected] Office Hours: @BurntCitrus on Twitter Dealy Hall 627 |Mon, 11am-12noon NotebooksForDialogue.org Rodrigues|Thurs, 1pm-2:00pm PaintingBohemia.org Class Location: FMH 308, 2:30pm Course Objectives: This is an intensive course in expository writing that aims to teach you to write effectively by using correct grammar, sound logic, and persuasive rhetoric. Though we will read and discuss writing by a variety of authors, your own writing will be the primary focus in this class. Through your writing, revision, reading, and class discussion, you will analyze the relationship between writing and thinking. To aid you in this endeavor, this course will introduce you to various research techniques, including the use of the library, the conventions and principles of documentation, the art of synthesis, and the analysis of sources. You are expected to participate actively in class, revise your work, and critique the work of your fellow students. You will receive individual guidance in discovering for yourself the ways in which our writing affects our thinking, and our thinking our writing. With the primary focus of the course being bettering students’ rhetorical and logical skills, the class will focus on bohemian and youth cultures in modernity, debating issues of gender, race, class, nationalism, consumer culture and technology. In addition to the required texts, supplementary texts will include essays, primary sources, films and scholarly articles. This course demands self-motivation, dedicated reading, critical writing, and class participation. Note: Changes may be made to this syllabus during the course of the semester.
  • Más Allá Del Grado Xerox Del Cartón: Hibridaciones Culturales Del Fenómeno Editorial

    Más Allá Del Grado Xerox Del Cartón: Hibridaciones Culturales Del Fenómeno Editorial

    Más allá del Grado Xerox del cartón: Hibridaciones culturales del Fenómeno Editorial Cartonero en Latinoamérica, el caso del Taller Leñateros en Chiapas, México A dissertation submitted to the Graduate School of the University of Cincinnati in the partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of Romance Languages and Literatures of the McMicken College of Arts and Sciences by Diego Mora M.A. in Spanish New Mexico State University, 2012 Committee Chair: Dr. Nicasio Urbina Readers: Dr. Carlos Gutiérrez, Dr. Mauricio Espinoza, Dr. Andrés Perez Mora 2 Abstract This dissertation discusses the cardboard publishing phenomenon at the beginning of the 21st century in Latin America, focusing on the book Conjuros y ebriedades. Cantos de mujeres mayas (2010), published by Taller Leñateros in Chiapas, Mexico; using theoretical and methodological concepts of cultural studies (García Canclini, Baudrillard, Bourdieu, Benjamin, Deleuze and Guattari, among others) and Latin American indigenous literary studies (Arturo Arias, Luis Cárcamo-Huechante and Emilio del Valle Escalante, among others) . The privatization of the Latin American publishing field during the infamous decade at the end of the 20th century engendered an explosion of alternative projects from the margins of the publishing industry that sought a more direct relationship between authors, publishers and readers; This is how cardboard publishers emerge, whose books are usually made with reused cardboard. To understand the development of the cardboard publishing phenomenon, four stages were identified: precursory (1930-2002), oral (2003-2007), mediatic (2008-2009) and institutional (2010 onwards); as well as three axes: literary, communitary and plastic. The cultural hybridizations of the phenomenon have allowed the pluricanonic publication of consecrated, rescued, emerging and/or novel authors; as well as diverse community experiences in Latin America.
  • 1 Ervin Jarek 2017 PHD.Pdf

    1 Ervin Jarek 2017 PHD.Pdf

    ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character.