University of SaskatchewanHARVEST
  • Login
  • Submit Your Work
  • About
    • About HARVEST
    • Guidelines
    • Browse
      • All of HARVEST
      • Communities & Collections
      • By Issue Date
      • Authors
      • Titles
      • Subjects
      • This Collection
      • By Issue Date
      • Authors
      • Titles
      • Subjects
    • My Account
      • Login
      JavaScript is disabled for your browser. Some features of this site may not work without it.
      View Item 
      • HARVEST
      • Electronic Theses and Dissertations
      • Graduate Theses and Dissertations
      • View Item
      • HARVEST
      • Electronic Theses and Dissertations
      • Graduate Theses and Dissertations
      • View Item

      "What was once rebellion is now clearly just a social sect": Identity, ideological conflict and the field of punk rock artistic production

      Thumbnail
      View/Open
      DASCHUK-DISSERTATION-2016.pdf (1.232Mb)
      Date
      2016-09-26
      Author
      Daschuk, Mitch D.
      ORCID
      0000-0002-5457-9199
      Type
      Thesis
      Degree Level
      Doctoral
      Metadata
      Show full item record
      Abstract
      I advance a sociological reappraisal of the Western punk rock youth cultural artistic form. Contrasting prevalent perspectives correlating punk rock culture with adolescent rites of superficial social rebellion, I argue that the art form often exudes an underappreciated level of sophistication. I argue for the presence of two dominant strains of punk artistic logic, and demonstrate how each correspond with popular trends in neo-Marxist social theory. However, I also note that these competing logics promote contradictory forms of punk artistic conduct. Incorporating the perspectives of Pierre Bourdieu, I link this imperative for ideological division with the punk artists’ placement within fields of cultural production. Drawing from the artistry and testimonies of historically significant punk artists (and artistic consecrators), I argue that notable instances of punk ideological debate simultaneously function to allow punk artists to compete amongst one another for claims to artistic distinction and authority. I consider significant case studies wherein ideological debates double as tactics through which artists bolster their own claims to distinction in striving to delegitimize the authority of their ideological competitors. I question whether the primary function of ideological punk artistic debate stem from sincere ideological imperatives, or concerns surrounding the processes of accrediting individual claims to artistic legitimacy within the punk artistic field. Critically considering the interaction between collectivist punk artistic ideologies and the individualistic imperative of asserting personal claims to authoritative punk identity, I conclude that movements toward internal differentiation ultimately undermine punk rocks’ capacity to serve as a substantive counter-hegemonic artistic movement.
      Degree
      Doctor of Philosophy (Ph.D.)
      Department
      Sociology
      Program
      Sociology
      Supervisor
      Wotherspoon, Terry
      Committee
      Lovrod, Marie; Findlay, Len; Somerville, Kara; Poudrier, Jennifer
      Copyright Date
      October 2016
      URI
      http://hdl.handle.net/10388/7488
      Subject
      Punk Youth Subculture Youth Culture Art and Resistance Hegemony Subcultural Capital Culture Industry
      Collections
      • Graduate Theses and Dissertations
      University of Saskatchewan

      University Library

      © University of Saskatchewan
      Contact Us | Disclaimer | Privacy