LEADER 04544nam 22006495 450 001 9910383817403321 005 20220228184741.0 010 $a3-030-39811-0 024 7 $a10.1007/978-3-030-39811-8 035 $a(CKB)4100000010770906 035 $a(MiAaPQ)EBC6152171 035 $a(DE-He213)978-3-030-39811-8 035 $a(EXLCZ)994100000010770906 100 $a20200330d2020 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aItalian Goth Subculture $eKindred Creatures and Other Dark Enactments in Milan, 1982-1991 /$fby Simone Tosoni, Emanuela Zuccalà 205 $a1st ed. 2020. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2020. 215 $a1 online resource (236 pages) 225 1 $aPalgrave Studies in the History of Subcultures and Popular Music,$x2730-9517 311 $a3-030-39810-2 327 $a1. Introduction: Enacting Goth in Milan in the ?80s -- 2. The Research: Methods and Methodology -- 3. Der Himmel Über Milan: The City of Milan in the Early ?80s -- 4. Another No Future: From anarcho-punk to the activist enactment of dark -- 5. A Batcave in Via Redi: The music club enactment of dark -- 6. Siberia: The Loner Enactment of Dark -- 7. Dark Canon -- 8. Conclusions: An Enactment Approach to Subcultures and Post-Subcultures. 330 $aThis book is the first in-depth investigation of the Goth subculture in Italy, focusing in particular on the city of Milan. It grows out of a three year research project - the first in Italy of this scope on the topic - based on the life histories of two dozen participants. In light of this, Simone Tosoni and Emanuela Zuccalà propose an innovative approach to the study of spectacular subcultures: contrarily to the most common accounts of the spectacular subcultures of the 80s, this book describes the experience of subcultural belonging as plural and internally diversified. In particular, three different variations - or 'enactments' - of goth are described in-depth: the politically engaged one; the one typical of the scene of the alternative music clubs spread all over northern Italy; and the one, common in the little towns surrounding Milan (but not limited to it), where participants used to 'enact' the dark subculture alone or in small groups. Their book argues that while these three different variations of goth shared the same canon of subcultural resources (music, style, patterns of cultural consumptions), they differed under relevant points of view, like forms of socialization, stance toward political activism, identity construction processes, and even their relationship with urban space. Yet, contrarily to the stress on individual differences in 'subcultural' belonging typical of post-subcultural theorists, the Milanese variations of goth appear to have been socially shared, as socially shared were the different 'practices of enactment' of the subculture that characterized each of them. 410 0$aPalgrave Studies in the History of Subcultures and Popular Music,$x2730-9517 606 $aPopular Culture 606 $aSocial history 606 $aCivilization$xHistory 606 $aHistory of Italy$3https://scigraph.springernature.com/ontologies/product-market-codes/717050 606 $aPopular Culture $3https://scigraph.springernature.com/ontologies/product-market-codes/411170 606 $aSocial History$3https://scigraph.springernature.com/ontologies/product-market-codes/724000 606 $aCultural History$3https://scigraph.springernature.com/ontologies/product-market-codes/723000 606 $aHistory of Modern Europe$3https://scigraph.springernature.com/ontologies/product-market-codes/717080 607 $aItaly$xHistory 607 $aEurope$xHistory$y1492- 615 0$aPopular Culture. 615 0$aSocial history. 615 0$aCivilization$xHistory. 615 14$aHistory of Italy. 615 24$aPopular Culture . 615 24$aSocial History. 615 24$aCultural History. 615 24$aHistory of Modern Europe. 676 $a306.1 676 $a945 700 $aTosoni$b Simone$4aut$4http://id.loc.gov/vocabulary/relators/aut$0298032 702 $aZuccalà$b Emanuela$4aut$4http://id.loc.gov/vocabulary/relators/aut 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910383817403321 996 $aItalian Goth Subculture$92169283 997 $aUNINA