Esej
Toni Juričić
Puni tekst: hrvatski pdf 885 Kb
str. 87-105
preuzimanja: 1.234
citiraj
APA 6th Edition
Juričić, T. (2017). . Jat, 1 (3), 87-105. Preuzeto s https://hrcak.srce.hr/index.php/192988
MLA 8th Edition
Juričić, Toni. "." Jat, vol. 1, br. 3, 2017, str. 87-105. https://hrcak.srce.hr/index.php/192988. Citirano 17.08.2024.
Chicago 17th Edition
Juričić, Toni. "." Jat 1, br. 3 (2017): 87-105. https://hrcak.srce.hr/index.php/192988
Harvard
Juričić, T. (2017). '', Jat, 1(3), str. 87-105. Preuzeto s: https://hrcak.srce.hr/index.php/192988 (Datum pristupa: 17.08.2024.)
Vancouver
Juričić T. . Jat [Internet]. 2017 [pristupljeno 17.08.2024.];1(3):87-105. Dostupno na: https://hrcak.srce.hr/index.php/192988
IEEE
T. Juričić, "", Jat, vol.1, br. 3, str. 87-105, 2017. [Online]. Dostupno na: https://hrcak.srce.hr/index.php/192988. [Citirano: 17.08.2024.]
Sažetak
Through a historical and comparative review of punk music in Yugoslavia similarities can be found between the Yugoslavian punk scene and the British and American punk scenes. While British punk music questioned the authority, American punk music used rebellion to find its musical direction. Under the influence of these two separate musical scenes, Yugoslavian punk music didn’t so much question and condemn the regime as it accepted it for the most part. However, lyricism in Yugoslavian punk retained a political element of socialism, addressing issues such as the working class and its decline as well as the problem of the red bourgeoise.
Ključne riječi
punk; music; Yugoslavia; KUD Idijoti; Parafi; Rijeka; Pula; working class; socialism; lyricism in music
Hrčak ID:
192988
URI
https://hrcak.srce.hr/192988
Datum izdavanja:
30.6.2017.
Podaci na drugim jezicima:
hrvatski
Posjeta: 2.068
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