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This thesis investigates the role of fanzines in developing music communities in Ireland. It explores these fan-produced texts from the emergence of the first Irish punk fanzines in 1977 to the present, questioning their significance, while critiquing previous studies into fanzine cultures (Duncombe, 2008; Triggs, 2010). It looks at how ‘authenticity’ is a central construct in the design, content, and dissemination of these artefacts, establishing a ‘dominant representational paradigm’ (Hamilton, 1997) for the production and consumption of fanzines. Fanzines are primarily found in alternative music cultures, and this work situates the makers and users as members of local ‘scenes’ (Cohen, 1991; Straw, 1991), and proposes a more fluid or tribal (Maffesoli, 1996; Bennett, 1999) framework, where communities are formed through shared taste (Bourdieu, 1984).
Central to this work is the position of capital, particularly Bourdieu’s concepts of cultural capital and social capital. It also ex...
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