This article examines love, relationships, intimacy and gendered violence in fictionalised punk biographies by authors and post-punk recording artists Kauko Royhka and Rocko Schamoni. Punk rock’s DIY aesthetic emphasises self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualises these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.

中文翻译：

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The Meanie Club——Kauko Röyhkä 和 Rocko Schamoni 的 Dorfpunks 中的性别暴力和后朋克爱情叙事

本文探讨了作者和后朋克唱片艺术家考科·罗伊卡 (Kauko Royhka) 和洛克·沙莫尼 (Rocko Schamoni) 虚构的朋克传记中的爱情、关系、亲密关系和性别暴力。朋克摇滚的 DIY 美学强调自我塑造和震撼价值。在戈夫曼的微观社会学意义上，主流印象管理旨在将个人的“耻辱”隐藏在自我的呈现中，而朋克则使个人的“耻辱”成为自我塑造的主要特征。这种态度与情人，尤其是巴尔特斯式的可悲情人，试图表现出对他们所爱的对象有吸引力的方式不一致。Farkku-Suomi 小姐（“芬兰牛仔小姐”，2003 年）和 Dorfpunks（“乡村朋克”，2004）讲述了类似的过分自我塑造的故事，导致霸权男子气概和异性恋爱情叙事的恢复。本文通过将这些关于男性朋克写作的发现与女性朋克音乐家和作家 Viv Albertine 的自传进行比较，将这些发现置于语境中。