Advertisement

Irony in Polish Punk of the 1980s as a Form of Contestation

  • Anna G. Piotrowska
Chapter
Part of the Palgrave Studies in the History of the Media book series (PSHM)

Abstract

The chapter argues that the songs, and especially performances, of the Polish punk bands of the 1980s can be read as reactions targeted against the restrictions imposed by communist authorities. But while the disseminators of official Polish propaganda clearly denounced the punk movement by borrowing from Cold War discourse, the paper argues that the irony of the situation can be found in the fact that the same type of rhetoric was internalized by punk bands and their fans as part of their rebellion.

References

  1. Ash, Timothy Garton. 2002. The Polish Revolution. 3rd ed. New Haven: Yale University Press.Google Scholar
  2. Austern, Linda Phyllis. 1985–1986. “Sweet Meats with Sour Sauce: The Genesis of Musical Irony in English Drama After 1600.” The Journal of Musicology 4, no. 4: 472–490.CrossRefGoogle Scholar
  3. Ballinger, Robin. 2005. “Sounds of Resistance.” In The Global Resistance Reader, edited by Louise Amoore, 421–436. London: Routledge.Google Scholar
  4. Barbalet, Jack M. 1985. “Power and Resistance.” The British Journal of Sociology 36, no. 4: 531–548.CrossRefGoogle Scholar
  5. Berland, Ellen. 1969. “The Function of Irony in Marston’s Antonio and Mellida.” Studies in Philology 66: 739–755.Google Scholar
  6. Bohrer, Karl Heinz. 2005. Nagłość [Suddeness]. Translated by Krystyna Krzemieniowa. Warsaw: Oficyna Naukowa.Google Scholar
  7. Bonds, Mark Evan. 1991. “Haydn, Laurence Sterne, and the Origins of Musical Irony.” Journal of the American Musicological Society 44, no. 1: 57–91.CrossRefGoogle Scholar
  8. Booth, Wayne C. 1974. A Rhetoric of Irony. Chicago: University of Chicago Press.Google Scholar
  9. Byerly, Ingrid Bianca. 2013. “What Every Revolutionary Should Know: A Musical Model of Global Protest.” In The Routledge History of Social Protest in Popular Music, edited by Jonathan C. Friedman, 229–247. New York: Routledge.Google Scholar
  10. Colebrook, Claire. 2004. Irony. New York: Routledge.CrossRefGoogle Scholar
  11. Dąbrowska, Anna. 1983. “Daleko od Woodstock” [Far Away from Woodstock]. Non Stop 10, no. 133 (October): 17.Google Scholar
  12. Darnton, Robert. 2014. Censors at Work: How States Shaped Literature. New York: W. W. Norton.Google Scholar
  13. Dettmar, Kevin J. H. 2006. “‘Authentically Ironic’: Neoconservatism and the Backlash.” Journal of the Midwest Modern Language Association 39, no. 1: 134–144.CrossRefGoogle Scholar
  14. Egan, Kieran. 1997. The Educated Mind: How Cognitive Tools Shape Our Understanding. Chicago: University of Chicago Press.Google Scholar
  15. Ekiert, Grzegorz, and Jan Kubik. 1999. Rebellious Civil Society: Popular Protest and Democratic Consolidation in Poland, 1989–1993. Ann Arbor: University of Michigan Press.Google Scholar
  16. Elleström, Lars. 2002. Divine Madness: On Interpreting Literature, Music and the Visual Arts. Lewisburg, PA and London: Bucknell University Press.Google Scholar
  17. Finlay, Marike. 1988. The Romantic Irony of Semiotics: Friedrich Schlegel and the Crisis of Representation. Berlin, New York, and Amsterdam: Mouton de Gruyter.Google Scholar
  18. Furst, Lilian R. 1984. Fictions of Romantic Irony. Cambridge, MA: Harvard University Press.Google Scholar
  19. Grabowski, Krzysztof. 2010. Dezerter: poroniona generacja [Deserter: A Miscarried Generation]. Warsaw: Kayax Music/“Agora”.Google Scholar
  20. Hollander, Jocelyn A., and Rachel L. Einwohner. 2004. “Conceptualizing Resistance.” Sociological Forum 19, no. 4: 533–554.CrossRefGoogle Scholar
  21. Hutcheon, Linda. 1994. Irony’s Edge: the Theory and Politics of Irony. London and New York: Routledge.Google Scholar
  22. Jackson, Travis A. 2013. “Falling Into Fancy Fragments: Punk, Protest, and Politics.” In The Routledge History of Social Protest in Popular Music, edited by Jonathan C. Friedman, 157–170. New York: Routledge.Google Scholar
  23. Kasprzycki, Remigiusz. 2013. Dekada buntu: Punk w Polsce i krajach sąsiednich w latach 19771989 [The Decade of Rebelion: Punk in Poland and Neighbouring Countries in the Years 1977–1989]. Kraków: Wydawnictwo Libron.Google Scholar
  24. Kulesza, Piotr. 2011. Muzyczna i piśmiennicza twórczość antychrześcijańska w polskiej kulturze punk i jej krytyka [Musical and Written Anti-Christian Creativity in Polish Punk Culture and Its Critique]. Wrocław: Oficyna Wydawnicza “Atut”—Wrocławskie Wydawnictwo Oświatowe.Google Scholar
  25. Lesiakowski, Krzysztof, Paweł Perzyna, and Tomasz Toborek. 2004. Jarocin w obiektywie bezpieki [Jarocin in the Pictures of Security Service]. Warsaw: Instytut Pamięci Narodowej, Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu.Google Scholar
  26. Marciniak, Marta. 2015. Transnational Punk Communities in Poland: From Nihilism to Nothing Outside Punk. Lanham, MD: Lexington Books.Google Scholar
  27. Michalak, Jakub. 2007. Nie będę wisiał ukrzyżowany: 30 lat punk rocka na Dolnym Śląsku: ludzie, teksty, inspiracje, kapele [I Will Not Hang Crucified: 30 Years of Punk in Lower Silesia: People, Texts, Inspirations, Bands]. Wrocław: Oficyna Wydawnicza Atut—Wrocławskie Wydawnictwo Oświatowe.Google Scholar
  28. Moreno, Jairo. 2003. “Subjectivity, Interpretation, and Irony in Gottfried Weber’s Analysis of Mozart’s ‘Dissonance’ Quartet.” Music Theory Spectrum 25, no. 1: 99–120.CrossRefGoogle Scholar
  29. Muecke, Douglas D. 1982. Irony and the Ironic. London: Methuen.Google Scholar
  30. Reynolds Thompson, Alan. 1948. The Dry Mock: A Study of Irony in Drama. Berkeley and Los Angeles: University of California Press.Google Scholar
  31. Robinson, David Alexander. 2013. “Anger Is a Gift: Post-Cold War Rock and the Anti-capitalist Movement.” In The Routledge History of Social Protest in Popular Music, edited by Jonathan C. Friedman, 198–210. New York: Routledge.Google Scholar
  32. Rose, Margaret A. 1995. Parody: Ancient, Modern and Post-modern. Cambridge: Cambridge University Press.Google Scholar
  33. Rzewuski, Jerzy A. 1978. “Brytyjski rock A.D. 1978” [British Rock A.D. 1978]. Jazz 9, no. 265: 14–15.Google Scholar
  34. Scott, James C. 1985. Weapons of the Weak: Everyday Forms of Peasant Resistance. New Haven: Yale University Press.Google Scholar
  35. Simons, Thomas W., Jr. 1993. Eastern Europe in the Postwar World. 2nd ed. New York: St. Martin’s Press.Google Scholar
  36. Skiba, Krzysztof, Jarosław Janiszewski, and Paweł Koñjo Konnak. 2011. Artyści, wariaci, anarchiści: opowieść o gdańskiej alternatywie lat 80-tych [Artists, Idiots, Anarchists: The Story of the Gdańsk Alternative Movement of the 1980s]. Warsaw: Narodowe Centrum Kultury.Google Scholar
  37. Sobolewski, Krzysztof. 1978. “Nowy styl punc” [The New-Style punc]. Kurier Polski 277/6434, 17 December.Google Scholar
  38. Turner, Katherine L. 2013. “Sonic Opposition: Protesting Racial Violence Before Civil Rights.” In The Routledge History of Social Protest in Popular Music, edited by Jonathan C. Friedman. New York: Routledge.Google Scholar
  39. ———. 2015. This Is the Sound of Irony: Music, Politics and Popular Culture. Burlington, VT: Ashgate.Google Scholar
  40. White, Stephen. 2001. Communism and Its Collapse. London: Routledge.CrossRefGoogle Scholar
  41. Wierzbicki, Marek. 2012. “The Phenomenon of the Youth Political Opposition in Poland in the Years 1980–1990 and Its Initial Interpretation.” In Anticommunist Resistance in Central and Eastern Europe, edited by Peter Jašek, 408–425. Bratislava: Ustav Pamati Naroda.Google Scholar
  42. Yurchak, Alexei. 2006. Everything Was Forever, Until It Was No More. Princeton, NJ: Princeton University Press.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.Jagiellonian UniversityKrakówPoland

Personalised recommendations