Emo Subculture Research Articles

Языковые особенности молодежных субкультур (на примере субкультуры эмо)

The article examines the linguistic features of various subcultures, which is an urgent problem of modern linguistics. This is because of their wide and rapid spread among young people. A special case of this type of linguistic personality is the emo linguistic personality, which is the object of this study. The study of linguistic material, which is an emic discourse, allows you to cover the intellectual sphere of the personality, the linguistic personality of EMO, characterized by its worldview, worldview, which is based on the emic philosophy of death and immortality. The pur-pose of the article is to identify the linguistic features of the EMO subculture, reflecting the phi-losophy, life values and principles of its representatives. The article summarizes new material on the topic under study, taken from EMO forums, which allows us to identify certain specifics of the subcultural language of EMO kids. Based on the study, several deliberate phonetic, spelling, and grammatical distortions of words have been detected, resulting in the development of occasional words, some of which may be conditionally recognized. An attempt was made to determine the ways of creative expression in the speech of emo subculture members. The examination of EMO forums revealed that aphorisms are often used in the speech activity of representatives of this sub-culture, which may be classified relativistically into groups. It has been shown that language is an important means of representing the philosophy and life beliefs of representatives of the emic subculture, which encourages the free expression of one’s own feelings.

ВЛИЯНИЕ СОВРЕМЕННЫХ ТЕНДЕНЦИЙ НА СПЕЦИФИКУ СУБЪЕКТНОЙ ОРГАНИЗАЦИИ РОК-ТЕКСТОВ XXI В.

The article studies the influence of modern trends on the specifics of the subjective organization of rock texts of the musicians generation in the “pro-Western” period, starting from that of the “era” of the emo subculture and ending in 2021. The main purpose of the article is to establish the peculiarity of the subjective organization of texts in rock poetry of the 2000s–2010s, as well as to determine the influence of social events on the change of the lyrical hero. In the course of the study, conclusions are drawn about the importance of the performer in the communicative chain “author-hero-performer-audience”, as well as possible reasons for changing the characteristics of lyrical heroes in the texts of four Russian rock bands of the modern generation (“Tracktor Bowling”, “Louna”, “Amatory”, “Pornofilms”). Using the example of the texts of each of these groups, the conclusion is made about a certain development of the group from the beginning of the creative path to its end or the last album as well as about the importance of the performer’s role for the texts composition of modern performers, as well as about the mutation of the lyrical hero under the influence of extra-textual factors. The article discusses the common features of the subject organization of four groups created at different times and having different communicative goals. Based on the subjective analysis, a conclusion is drawn about the mass character of modern rock music.

RETHINKING THE ‘TRUTH’ OF IDENTITY: DISSECTING QUEERNESS AND EMO SUBCULTURE IN NETFLIX’S THE UMBRELLA ACADEMY

Over the years, the presence of LGBTQ+ community in the media has gone through noticeable change. It is a challenge for online streaming services like Netflix to represent as many communities and subcultures as they can, because accessibility comes with more diverse audience. While many LGBTQ+ characters have been put in the spotlight, those who identify beyond binaries are still arguably underrepresented, especially the ones that belong to socially degraded subculture like emo. The Umbrella Academy is a TV show rooted in emo subculture that feature LGBTQ+ superhero characters, Klaus Hargreeves and Vanya Hargreeves, who do not fully associate with the label “gay”, “lesbian”, or “bisexual”. This study employs what Judith Butler asserts, that gender expressions and practices of desire go beyond binaries, to see how emo subculture engages queerness as rejection to rigid classification of gender identities and sexual practices, as well as a tool to oppose conservatism, especially of previous generations. The discussion reveals that contrary to the popular belief that perceives emo as the culture of straight middle-class white boys, the show perceives emo subculture through the characters’ rejection to absolute identification. The characters show rejection through clothing, behavior, mannerism, and verbal statements. The characters also show opposition to conservatism, which include traditional gender roles, traditional superhero narratives, masculine-feminine polarity, and the ‘truth’ of identity.

EMO SUBCULTURE IN THE CONTEXT OF DELIBERATE SELF-HARMING

The article titled EMO subculture in the context of deliberate self-harming deals with serious risk behaviour particularly in pubescence and adolescence of contemporary children. It could be stated that the subject area of the article, or the topic of deliberate self-harming is generally a taboo, surrounded by some myths for the lay public. The relation of the subculture in question and of deliberate self-harming is surrounded by myths too. The article presents the data acquired by content analysis of selected discussion platforms grouping individuals claiming allegiance to the EMO subculture. The results are confronted with earlier implemented studies.

Gays, Cross-Dressers, and Emos

Gays, Cross-Dressers, and Emos

Parental attitudes and aggression in the Emo subculture.

A better functioning of adolescents involves proper relationships with parents, whereas negative relationships lead to aggressive behaviour. Young members of Emo subculture, characterised by deep emotional sensitivity, are particularly vulnerable to parental influence. The aim was to specify a relationship between parental attitudes and aggression among adolescents from the Emo subculture in comparison with a control group. 3,800 lower secondary school students took part in the introductory research. A target group constituted 41 people from the Emo subculture as well as a control group involving 48 people. A screening survey, the Parental Attitudes Scale, the Aggression Questionnaire and the author's questionnaire including questions concerning the functioning in the Emo subculture were used in the study. The results obtained in the research study suggest that there is a relationship between the indicated improper parental attitudes and aggressive behaviour among adolescents from the Emo subculture in comparison with the control group. In the Emo subculture, teenagers'aggressive behaviour is related to improper parental attitudes. It has been stated that mother's attitudes, irrespective of subculture, are much more strongly associated with the aggression among adolescents than father's attitudes. Moreover, aggressive behaviour in the Emo subculture occurs when father displays an excessively demanding attitude. A reduction of the level of almost all kinds of aggression manifested among teenagers from the Emo subculture is associated with mothers' attitude of acceptance. Mothers' autonomous attitude leads to an increase in the aggression in this group, whereas an inconsistent attitude of mothers fosters an increase in aggression among all teenagers.

Deconstructing Emo lifestyle and aesthetics: a netnographic research

Purpose – The aim of this paper is to analyse the role of creative re-appropriation of goods, symbols, and other manifestations of the dominant material culture in the Emo subculture identity construction process. Design/methodology/approach – The authors conducted an ethnographic study on a purposive sample of social networks, blogs, discussion forums and online platforms for images sharing. Verbatim and visual texts as photos, drawings and moodboards were qualitatively content analysed in order to understand the network of meanings underlying the ambiguous amalgam of signs composing the Emo style. Findings – Consistent with the literature, the qualitative content analysis of texts, images, videos, drawings and other forms of fan art typical of this micro culture revealed four key areas of semantic value: the aestheticization of inner pain, the sense of alienation and isolation from socio-cultural mainstream, the search for authenticity, and the need for emotional connection. Research limitations/implications – The research followed a quite new research method, the netnographic approach, originally developed to analyse brand communities. Practical implications – Emo creative practices of re-appropriation of goods, symbols and icons of the dominant culture reveal a subtle message of protest against the consumer society and the commodification of everyday life. Originality/value – The paper presents the deconstruction of Emo Lifestyle and Aesthetics analysing the system of meanings underneath the rituals Emos share through the Web.

"Emo" Culture and Gender Norms in Late Adolescents and Young Adults

The present study examined the extent to which youth who endorse emo subculture reject the traditional masculine norm of restrictive emotionality. It also examined the relationships between endorsement and rejection of emo subculture and traditional masculine and feminine norms and masculine gender role conflict. In Study 1 (N = 13) three focus groups were conducted to create the mixed methods Emo Culture Questionnaire (ECQ). In Study 2 (N = 164) exploratory factor analysis of the quantitative part of the ECQ resulted in a 15-item, 4-factor scale; however, due to low reliabilities, only two scales were used in the analyses. Three hypotheses were mostly supported. The endorsement of emo subculture by men was negatively associated with their Restrictive Emotionality subscale scores of both the Male Role Norms Inventory-Revised (MRNI-R) and Gender Role Conflict Scale (GRCS). The endorsement of emo subculture by women was negatively associated with their MRNI-R Restrictive Emotionality scores but was not positively associated their Femininity Ideology Scale (FIS) Emotionality scores. Negative views of the emo subculture by both men and women were positively correlated with their MRNI-R Restrictive Emotionality scores. An exploratory question found that the endorsement of emo subculture had significant negative correlations with three additional MRNI-R subscales and the total scale for men and with five MRNI-R subscales and the total scale for women. In addition, the endorsement of emo subculture had significant negative correlations with two FIS subscales, and with two additional GRCS subscales and the total scale for men. Qualitative results from the ECQ indicated that while the label “emo” may not function as a personal identifier, the music, fashion, and behavior thus identified remain popular.

Finding the meaning of emo in youths' online social networking: A qualitative study of contemporary Italian emo

This paper analyses how young Italians aged 16 to 19 who identify themselves with emo subculture use social network sites (SNSs) in constructing their identity and social relations. Based on a qualitative methodology, the findings supported our hypothesis that SNS are tools to socialise rather than isolate. Emo emerges as a powerful identity mark, which through dissemination in new media provides the foundation for a new sense of subcultural belonging.

Emo phenomenon – An actual problem in adolescence

The aim of the present study was to study personality features characteristic for the teenagers involved in the EMO subculture. The study sample was represented by 100 adolescents, average age 17,5 years. First group of 50 adolescents that are considered like being part of the EMO subculture were selected after interviewing several teachers from a high school, from Timisoara, Romania. This interview has 5 categories of questions: regarding physical aspect; emotional tonus observed; capacity of adaptation to tasks; behaviour and interests. Immersion in personality dynamics of adolescent, especially regarding such a delicate matter as a new suburban culture, that is beginning to have more and more influence in teenagers, is necessary.

Emo Gay Boys and Subculture: Postpunk Queer Youth and (Re)thinking Images of Masculinity

This is an exploration of gay youth subculture and emo boys. The study is a mesh of findings and related theoretical understandings about gay emo subculture, masculinities, style, and alternative gay youth. This study looks at gay male teenagers who identify with emo, a movement that stems from music and aesthetics creating a particular visual for these young people. The study is concerned with the larger ramifications of desire, gender, and queer life for young people who associate with emo. The analyses will move through a lexicology of what gay emo can be, an understanding of the aesthetics of gay emo youth subculture, and a reconsideration of notions of marginality within mainstream gay community. The piece will position youth and difference in a very pivotal way to explore the problematic hegemonies of fictionalized/fetishized masculinity within the gay community. The result will be an exploration of alternative queer youth as a cornerstone for contemporary gay “identities.”

“Just Emotional People”? Emo Culture and the Anxieties of Disclosure

In an article in the Sunday Tasmanian shortly after the deaths of Melbourne teenagers Jodie Gater and Stephanie Gestier in 2007, Tasmanian Catholic Schools Parents and Friends Federation president Bill Button claimed: “Parents are concerned because all of a sudden their child, if they have access to a computer, can turn into an Emo” (qtd. in Vowles 1). For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverage. Emo, an abbreviation of the terms “emocore” or “emotional hardcore”, is a melodic subgenre of punk rock music, characterised by “emotional” or personal themes. Its followers, who adopt a look that includes black stovepipe jeans, dyed black hair and side-parted long fringes, might merely have been one of the many “tribes” (Bennett 605) that characterise contemporary youth culture. However, over an approximately five-month period in 2007, the deaths of three teenagers in two separate incidents—the murder Carly Ryan in February and the suicides of Jodie Gater and Stephanie Gestier in April—were linked to the emo subculture and to the social networking site MySpace, both of which were presented as dangerous and worrying developments in contemporary youth culture.

Negotiating Selves: Exploring Cultures of Disclosure

If identity is a construct—and, more critically, a construct defined and developed through relationships with others in public and private spheres—then an understanding of the processes, mechanisms and platforms by which individuals disclose information about themselves is crucial in understanding the way identity, community and culture function, and the way individuals can intervene in the functioning of culture.

Andrew Keen Vs the Emos: Youth, Publishing, and Transliteracy

Andrew Keen Vs the Emos: Youth, Publishing, and Transliteracy

The Mental Health Literacy of Rural Adolescents: Emo Subculture and SMS Texting

This study sought to explore the mental health literacy of adolescents living in a rural area in Australia through in-depth, semi-structured interviews, with a view to identifying areas for further research and making recommendations for improved education programs around mental health. Nine Year 10 students (two boys and seven girls) from a rural secondary school in South Australia read two vignettes, one portraying depression and the other schizophrenia. Semi-structured individual interviews that focussed on the vignettes were audio-taped, transcribed and analysed for thematic content. The data yielded a number of main themes, many of which have been previously identified in the literature. Two new findings also emerged. These were the role of Emo subculture and dealing with distress, and the value of confiding in another person through short message service (SMS) texting. The impact of Emo subculture and SMS texting on mental health literacy requires further exploration. It is suggested that these two findings are not confined to rural youth, but may have national and international relevance.

Lemonade Mouth (review)

Reviewed by: Lemonade Mouth Karen Coats Hughes, Mark Peter Lemonade Mouth. Delacorte, 2007338p Library ed. ISBN 0-385-90404-5$18.99 Trade ed. ISBN 0-385-73392-5$15.99 R Gr. 6-9 Five social misfits end up in detention one fateful day. As their frightening teacher is seized with a coughing fit and leaves the room for a frozen lemonade from the vending machine, the kids spontaneously perform a riff on an advertising jingle using improvised instruments from around the room. The teacher, formerly a professional musician, returns and recognizes their synchronicity for the miracle it is, and the band Lemonade Mouth is born. The band's alternative sound and cri de coeur lyrics take the school by storm, awakening subversive attitudes, especially when they protest the removal of their precious frozen lemonade machine due to a noncompetition clause specified by the corporation that is paying for the new scoreboard. This title offers a fresh if not wholly original take on the age-old jocks-versus-geeks, mighty-corporation-versus-little-guy dynamic; it stops just short of being an emo manifesto by giving the kids credibly difficult but not insurmountable backstories and keeping them from the darker behaviors associated with the emo subculture. These kids are all squeaky clean, and they're just trying to survive on the social margins of their school, with the ersatz family they form helping each to cope with relatively mild pressures at home. Each band member's story follows the arc of the band itself, moving from shy and misunderstood underdog to reasonably confident and successful young adults, with a few setbacks along the way. Narration alternates between the voices of the five as well as the voices of their fans; the result is a sense of thoroughness in the storytelling and a full understanding of the way a band formed in a school basement can become a phenomenon and how a few friends can make all the difference. Copyright © 2007 The Board of Trustees of the University of Illinois