Abstract:
The purpose of this scholarly inquiry is to abridge the current chasm in punk rock literature by
presenting a new perspective of emotion in relation to punk rock lyrics, culture, and fans; and in
doing so, further reason the communicative and sociological importance of the Ramones, as well as
the theoretical significance of ideological criticism, ideographic criticism, and the ideograph (Foss,
2009; Lee & Blood, 2016). To accomplish this, I linked ideology to lyrical dominant
narrative themes of , , and ; employing the ideograph to analyze the
relationship among discourse, power, and truth (Lee & Blood, 2016, p. 217); which enabled me to
not only rhetorically analyze how ideology functions (Foss, 2009), but also rhetorically
determine if dominant narrative themes of ideology are hegemonic or not (Lee &
Blood, 2016). This process enabled me to argue in favor of the following three contentions: (1) that
the Ramones lyrics addressed dominant narrative themes of romance, intimacy, and love; (2) that
dominant narrative themes of ideology are non-hegemonic; and (3) that some punk
rock scholars have "indirectly and intermediately" (Schneider, 1962) further stigmatized punk rock
music, fans, and associated popular culture by failing to both recognize and analyze dominant
narrative themes in punk lyrics. |
