Since the birth of punk, it has been a harbinger of trends within both youth culture and what cultural theorist Theodor Adorno calls the "culture industry" (Adorno & Horkheimer, 1947; Adorno, 1971). However, punk has never been fully embraced by the culture industry, largely, by design. Punk arose as a response, borne out of the frustration of a stagnant world that values profit over people (Sabin, 1999, p. 3). Present within opposition is confrontation—which is the very nature of punk. This thesis seeks to exemplify how punk uses confrontation as the instrument through which punk comes to know truths. The matrix by which punk substantiates truth statements is through the collective acceptance through the scene: bands and show-goers—via shows, fanzines and socio-political groups, which build upon other radical epistemologies (e.g. hip-hop & Black Feminism).
|Advisor:||Sobe, Noah W.|
|Commitee:||Roemer, Rober E.|
|School:||Loyola University Chicago|
|School Location:||United States -- Illinois|
|Source:||MAI 50/02M, Masters Abstracts International|
|Keywords:||Cultural studies, Educational theory, Punk|
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