Traditional political par ties – such as the Democrazia Cristiana (Christian Democrats) and Partito Comunista Italiano (the strongest communist party in the Western world) – were losing support, while a new liberal‑socialist party (PSI) had come to power (and was to govern for a decade), heralding the start of a short but intense period of economic growth and political corruption. However, as was the case in other southern European nations (Guerra, 2014), punk did not become a visible subculture until the 1980s.Ħ Between the 1970s and 1980s, Italy was undergoing a period of eco nomic development and political transformation. The Historical and Cultural Background to Italian Punkĥ The first Italian punk bands were formed in 1977, in the medium ‑ sized to large northern cities of Turin, Milan, Bologna and Pordenone. The following section explains how the cultural movement which began in 1977 played a crucial role in this transition. Italian punk can be contextualised as part of the global transition from a period of disruption to a postmodern search for authenticity. At the time, Italy was emerging from a long period of terror ‑ ism and experiencing the significant growth of youth movements (Melucci, 1984) together with the transformation of its traditional political cultures, namely Catholicism, which inspired the conservative Democrazia Cristiana movement (DC), and communism, represented by the Partito Comunista Italiano (PCI). In this sense, punk emerged as a demystification of mainstream culture, giving rise to alternative lifestyles and the rediscovery of subjectivity.Ĥ As a consequence, the birth of punk in Italy can be contextualised as part of the larger historical reaction to the turbulent transformation that was taking place in society. As a consequence, punk developed as a very individualistic movement (Guerra, 2014: 114), but at the same time also promoted the self ‑ valorisation of individuals, or what Dunn has described as the disalienation of subjects living in the age of neoliberalism 2 (2008).ģ As Georg Simmel has pointed out (2004: 155ff.), art provides indivi duals with a framework for representing every element of their lives, trans ‑ forming and revolutionising their reality through stylization. it allowed very different and unique punk identities to be created, representing different feelings and personal experiences. Its moral, subcultural and existential flexibility opened up an almost infinite process of differentiation\identification (Simmel, 1905), i.e. 2 The concept of neoliberalism used in this article refers to the definition by Harvey: “Neoliberalis (.)Ģ This artistic and cultural rebellion emerged in very different forms, and in different temporal and geographical contexts (Dunn, 2008).En termes de conclusion, nous nous penchons brièvement sur quelques questions quant au rapport entre le punk et l’authenticité, et nous comparons le punk italien au punk britannique et portugais. Les résultats montrent que la production artistique de CCCP peut être interprétée comme une parodie subversive et ironique de la tradition collectiviste dominante de la politique et de la culture italiennes de l’époque (communisme et catholicisme), tout autant que comme une réaction créative au néolibéralisme.
What is cccp in english plus#
Cet article se penche sur la scène punk italienne et sur son passage du punk classique au post -punk, prenant pour référence son groupe le plus fameux et représentatif: CCCP Fedeli alla Linea.Īprès une brève introduction de leur background historique et culturel, nous présenterons les résultats de l’analyse qualitative textuelle des chansons du groupe CCCP en utilisant la méthodologie de narrative sémiotique d’Algirdas Greimas (1983). Le punk en Italie a largement été omis en tant qu’objet de recherche par le passé, l’attention s’étant plutôt centrée sur la scène d’autres pays.