• Trans-
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• v.8
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• pp.1-28
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• 2020

This study examines musical characteristics of so-called 'Hongdae Sound' as a historic musical trend by comparing with 'US 8^th Army Sound' and British 'London Punk'. Hongdae Sound refers to the musical trend that was formed with independent bands and musicians who mostly performed live in the club called 'Drug' in Hongdae area, and voluntarily adopted minor musical sensitivity and indie spirit of 'post-punk rock' genre. But as an industrial standpoint the superficial identity of 'indie' interferes with academic approach when analysing musical aspects of Hongdae Sound. Therefore it is necessary to rearrange its characteristics as the musical trend based on regional classification in order to fully appreciate its status in history of Korean popular music. US 8^th Army Sound refers to the musical trend that was played within the live stages in US military bases in Korea. Many hired Korean musicians for those shows were able to learn the current popular musical trend in the States, and to spread those to the general public outside the bases. The industrial system of the Army Sound was very similar to that of K-Pop, but when it comes to leading the newest musical trend of 'rock-n-roll', it had more resemblance to that of Hongdae Sound. London punk was the back-to-basic form of pure rock that was armed with social angst and rebel, indie spirit. Its primal motto was 'do-it-yourself', and Hongdae Sound mostly followed its industrial, musical and spiritual paths. London punk was short-lived because it abandoned its indie spirits and became absorbed to the mainstream. But Hongdae sound maintain its longevity by maintaining the spirit and truthfulness of indie, while endlessly experimenting with new trends.

• Cross-Cultural Studies
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• v.43
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• pp.51-77
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• 2016

In February, 2012, three members of the Russian Feminist Rock group 'Pussy Riot' were accused of staging a 'Punk Prayer' in the Cathedral of Christ the Savior in Moscow and were imprisoned for two years. This case, which sparked widespread enthusiastic support from those in the West, was viewed in Russia in quite a different way. The Pussy Riot affair very effectively shows the historic base of contemporary Russian gender discourse and gives an explanation as to why Putin's very conservative and masculine-centered nationalistic agenda works in Russian society with such great success. In this article, we introduce the Pussy Riot case and compare the reactions to the case published in the Russian and Western press; we then examine the historic causes of the masculine-centered nationalistic agenda of Putin's government.

• Journal of the Korean Society of Costume
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• v.39
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• pp.197-215
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• 1998

Vivienne Westwood, the revolutionary cre-ator of Punk fashion(ripped T-shirts, bondage clothes, fetishist accoutrements) was a street fashion designer. Although Westwood's clothes have frequently been described as decadent, degenerate and unwearable, they have also exerted a powerful influence on interntional fashion. Westwood became a fashion designer in the mid-1970s, when he emergence of Punk put London back on the fashion map for the first time since 1965. Just as the Mods, Rockers, and Hippies of the 1960s had embraced par-ticular styles of dress and music, so also did the Punks create their own subculture. The Punk“style in revolt”was a deliberately“re-volting style”that incorporated into fashion various offensive or threatening objects like tampons, razor blades, and lavatory chains. Vivienne Westwood and parter Malcolm McLaren articulated this youth culture, who roots lay in music. A sign is something which stands for some object or idea, while the semiotics are the ex-ternal expression for an internal meaning. Semiotics can be used as a medium of communication between dress and music. A language is simply used for explicit of meaning, while the style of dress and music express the explicative and implicative signs. Peirce's scheme among several theories of the semiotics was chosen for this study, because the Peirce's scheme was the first non-language communication medium between external and internal stages, and readily inter-preted the styles of dress and music. Punk rock was studied at first to identify the style which influenced Vivienne Westwood's works and then Semiotics were used to apply the above results to the 1970s and 1990s for analyzing and interpreting the Vivienne Westwood's works were also interpreted by the symbolic characteristics of Semiotics, because the symbol of semiotics often found at Youth Cults reflected punk rock. The symbol of revolt, decadence, grungy, freedom in Vivienne Wes-twood's works wre determined by using Punk rock's semiotics. This study could conclude that the style of dress and punk rock were able to be interpreted by semiotics.