Twenty-five years ago, just as the Cold War ended with the fall of the Berlin Wall in 1989, the suitably-titled West German goth fanzine Glasnost announced that a festival called Wave-Gotik-Treffen was to be held in the East German city of Leipzig. Today, the Wave-Gotik-Treffen is the biggest such festival in the world. Initially, however, its significance lay in allowing East and West German goths to meet and dance together, revealing differences in their respective experiences and understanding of the dark subculture. This article will examine two inter-related questions. First, what was the relationship between ‘goth’, as a music and aesthetic, across the frontier of the cold war? Second, to what extent were the goth subcultures of East and West Germany informed by and understood in relation to the original goth subculture emergent within the UK? The article will feed into the debate on the politics of youth culture, but also on the ways by which subcultural meanings and identities are transmitted and ...

中文翻译：

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从伦敦到莱比锡往返：Endzeit（R）演变的跨国方法（1976–92年）

25年前，正当冷战随着1989年柏林墙的倒塌而结束时，恰当称呼的西德哥特歌迷格拉斯诺斯特宣布在东德城市举行名为Wave-Gotik-Treffen的音乐节莱比锡。如今，Wave-Gotik-Treffen是世界上最大的此类节日。然而，起初，其意义在于允许东德和西德哥特人见面并共舞，从而揭示了各自经历和对黑暗亚文化的理解的差异。本文将研究两个相互关联的问题。首先，在整个冷战时期，作为音乐和美学的“哥特”之间是什么关系？第二，东德和西德的哥特亚文化在多大程度上受到了英国最初的哥特亚文化的了解和了解？这篇文章将引发关于青年文化政治的辩论，而且还将讨论亚文化含义和身份的传播和传播方式。