ABSTRACT

Punk’s dogged durability continues to be driven by a communal ethos that once embodied inclusivity, resistance, challenge, and transformation. The precipitous absorption and integration of punk into the mainstream ran the risk of undermining the authenticity of its rebellion, DIY principles, and sub-cultural inimitability. Yet, in emerging from the underground punk has continued to provide a counter-normative framework and aesthetic. The ethos that underpinned first-wave punk is evident today in punk’s ongoing engagement with queer politics and persistent illustrations of gender fluidity. This article examines an articulation of “transgender as punk” focusing on the example of Laura Jane Grace, lead singer of U.S. anarcho-punk band Against Me!, who came out as transgender five albums into her public life as an established punk musician. Punk has time and again served as a site for making visible and verbalising discordant experiences, which Grace has accessed to document her complex and troubled personal intercessions, transgender realities, and their uncertain future.

摘要

朋克顽强的耐用性继续受到曾经体现包容性，抵抗性，挑战性和转变性的公共精神的驱使。朋克的迅速吸收和融入主流，冒着破坏其叛逆，DIY原则和亚文化不可模仿性的真实性的风险。然而，在从地下朋克中崛起的过程中，继续提供了反规范的框架和美学。如今，朋克与同性恋政治的持续交往和对性别流动性的持续说明，就证明了支持第一波朋克的精神。本文研究了“变性人作为朋克”的表达方式，重点是美国无政府主义朋克乐队《反对我！》的主唱劳拉·简·格雷斯（Laura Jane Grace）的例子，她以变性人的五张专辑作为一个成熟的朋克音乐家进入了她的公共生活。