Abstract
Punk in Italy has largely been overlooked as a research topic in the past, focussing instead on the scene in other nations. This article examines the Italian punk scene and its transition from classic to post-punk, focussing on its most famous and significant band: CCCP – Fedeli alla linea.After a short introduction to the historical and cultural background, the results of a qualitative textual analysis of CCCP lyrics using algirdas Greimas’ methodology for narrative semiotics (1983) will be presented. as the results show, CCCP’s artistic production can be interpreted as a subversive and ironic parody of the collectivist traditions that were dominant in Italian politics and culture at the time (communism and Catholicism), and as a creative critical reaction to neoliberalism. The conclusion briefly discusses certain theoretical issues such as the relationship between punk and authenticity, and compares Italian punk with british and Portuguese punk.
Highlights
Punk has always been an expression of rebellion against capitalism, imperialism, the exploitation of the working class, materialism and the patriarchal society.This artistic and cultural rebellion emerged in very different forms, and in different temporal and geographical contexts (Dunn, 2008)
CCCP’s artistic production can be interpreted as a subversive and ironic parody of the collectivist traditions that were dominant in Italian politics and culture at the time, and as a creative critical reaction to neoliberalism
64 | Vincenzo Romania promoted the self-valorisation of individuals, or what Dunn has described as the disalienation of subjects living in the age of neoliberalism2 (2008)
Summary
Punk has always been an expression of rebellion against capitalism, imperialism, the exploitation of the working class, materialism and the patriarchal society.This artistic and cultural rebellion emerged in very different forms, and in different temporal and geographical contexts (Dunn, 2008). CCCP’s artistic production can be interpreted as a subversive and ironic parody of the collectivist traditions that were dominant in Italian politics and culture at the time (communism and Catholicism), and as a creative critical reaction to neoliberalism.
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