University of Cumbria Institute of the Arts BA (hons) Graphic Design Louise Morgan December 2019
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INTRODUCTION CHAPTER ONE CHAPTER TWO CONCLUSION REFERENCES
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Gothic style has been derived from the Punk Rock sensibility and is referred to as “the more dressy form of punk� (Goodlad, and Bibby, 2007).
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Gothic style, a product of the Gothic subculture, was born in the 1980s, following the punk movement of the 1970s. Gothic style has been derived from the Punk Rock sensibility and is referred to as “the more dressy form of punk” (Goodlad, and Bibby, 2007). Despite being referred to as ‘more dressy’ there is a heavy influence from Victorian, Pagan and religious iconographies (Ibrahimova, 2012). Participants in the Goth subculture are drawn to a “world view which dwells on a fascination with the dark, the uncanny and the mysterious” (Latham, 2014). The actual aesthetic of the Goth subculture is open for personal interpretation and translation, however the bricolage, most notably in the UK, is often drawn from historical literary texts, such as ‘Dracula’ (Stoker, 1897) and drawing on religious and Victorian iconographies, rather
than being a form of rebellion, as the Punk movement implied. Gothic aesthetic as a modern day subculture is described as “frequently eclectic, spectacular and transgressive” (Latham, 2014). The terms used in this quote suggest that Goths are always dressed eclectically and their choice of dress is to make a statement. The idea of labelling a subculture as ‘spectacular’ implies that there is an element of shock factor to seeing a Goth, further fuelling the taboo surrounding the subculture. A subcuture, often controversial, or ‘shocking’ within mainstream society, is actually defined as “a strong sense of collective identity” (Sylvia Lancaster, 2013). The ideology that a subculture is seen as something shocking, further amalgamating Goths.
In reality Goths are individuals with a strong identity and alternative interests. The aim of this paper it to show that, regardless of author bias and location of publication media influences. Some international societies, such as the case study of Uzbekistan, still view Goth subculture as maligned and unorthodox. This has links to the Russian media outlets, which still have influence on the dominant political beliefs and ideologies surrounding what is acceptable in the mainstream. There are contrary examples in Europe, where the Goth subculture is rather a community. An example of this in a small and localised area in which this is the case is Newcastle’s Old Eldon Square green, known locally as the ‘Hippy Green’. This case study will then be compared to the large Goth community in Finland, where the idea of Gothic aesthetic and the subcultural identity is not shocking to the mainstream because of the popularity. This is because of the dominance of social media, where a subculture’s origins, in this instance the UK, can be shared on an international scale. Iconographies from thesubculture can then be translated and appropriated worldwide.
“a strong sense of collective identity” (Sylvia Lancaster, 2013). 5
A case study of Goth being a localised subculture is the Old Eldon Square green, locally named Hippy Green in Newcastle Upon Tyne.
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Localised subculture, defined by the Cambridge University Press as something that is “happening in only specific areas”. A case study of Goth being a localised subculture is the Old Eldon Square green, locally named Hippy Green in Newcastle Upon Tyne. “For years the square would be the place to meet on Goth Saturday” (Hodgson, 2016). ‘Goth Saturday’ was in itself a tradition, especially in the Hippy Green area, creating a localised pocket of Goths. The Evening Chronicle, the dominant newspaper in Newcastle, does demonstrate an element of bias in favour of the Goth community, interviewing Goths and quoting their statements to use in the article. To local people, ‘Goth Saturday’ is a tradition within the city, even in the present day. Despite the diffusion of Goths in Newcastle City Centre to other areas in the city, it is still reported by the Chronicle, that students of Newcastle and Northumbria Universities still sit out on the grass of the Green. The area is now more family friendly, following complaints of locals feeling ‘threatened’ by the groups of Goths on the green. Despite the localised complaints about ‘Goth Saturday’, the overall level of tolerance is evident within the Goth subculture, a local Goth interviewed quoted “I have never experienced such levels of friendliness, acceptance and open- mindedness” (Hodgson, 2016). The levels of ‘friendliness and open-mindedness’, despite receiving complaints from the locals, just shows that local Goths are not bad people, they are people with a shared interest in an identity and aesthetic. Despite the fact that Goths have been known to get attacked, yet they still are friendly and valuable members of society, lends further credibility to the fact that it is not Goths that are the problem, it is how society views them. Hippy Green, even though it is located in Newcastle City Centre, was “a haven for the Goth community, becoming a regular weekly haunt” (Hodgson, 2016). There is a heavy implication that the Green was a “safe space for gay members” (Latham, 2014). This is due to the fact that “Goth scene is more tolerant of displays of same-sex affection” (Latham, 2014).
Goth Saturday started to diminish when backlash from the locals caused groups to diffuse across the city.
“ I have never experienced such levels of friendliness, acceptance and open- mindedness” (Hodgson, 2016). Western society hasn’t always been accepting of same sex affection, one who feels excluded by the mainstream may find refuge in a subculture, surrounded by like-minded people, who share the same level of tolerance for one another. The level of tolerance and acceptance is likely to have stemmed from the fact that Goths stereo-typically are judged based on appearance or lifestyle choices, rather than the person that they actually are, in reference to the Sophie Lancaster incident, where she was killed, purely because of her appearance. There is no surprise that after that incident in 2007 (Scott, 2007), the prevalence of ‘Goth Saturday’ diminished in Newcastle and the
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Now Goth Saturday has diminished, students of the universities now sit on the grass during the summer months.
The highly publicised incident of 2007, in which 20-year-old Sophie Lancaster was attacked, alongside her boyfriend, and later died of her injuries, did and still does highlight the real dangers that Goths face in day to day life. population of Goths has been diffused across the city, rather than being concentrated into one area. The highly publicised incident of 2007, in which 20-year-old Sophie Lancaster was attacked, alongside her boyfriend, and later died of her injuries, did and still does highlight the real dangers that Goths face in day to day life. This could also have been a catalyst for the decline of ‘Goth Saturday’ in Hippy Green in Newcastle upon Tyne. This incident is not an isolated attack, though one of the first instances in which an attack against someone who identified as a Goth made national news. The time of the attack, 2007, coincides with the development of smartphone technology, the first iPhone was released in 2007 (Arthur, 2012, The Guardian) this allows individuals have access to media and news at their fingertips. A follow up article titled ‘What happened to Hippy Green’ (Hodgson, 2016), shows that throughout the 2000s the number of Goths that would congregate on the green has diminished dramatically. There have also been localised triggers, such as the closure of the Kathmandu cult shop, previously located in the Old Eldon Square area, the opening of other ‘cult’ shops in the city may have accelerated the diffusion of Goths to other parts of the city.
The Gothic style traditionally takes inspiration from Victoriana, Pagan and religious iconographies.
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The Goths, despite having received grief from members of the public claim “nobody bothered anybody” (Hodgson, 2016), in terms of harassing members of the public. This further reinforces the ideology that the Goth subculture is a community of likeminded individuals who look out for one another, not young people being rebellious or out to cause trouble within society. To quote an
anonymous Goth who used to be a regular at Hippy Green “the people in their twenties would look after the younger ones” (Hodgson, 2016). Newcastle’s localised Goth culture does give the implication that there was a strong community spirit, a “collective identity” (Sylvia Lancaster, 2013), where one can be free to be themselves without judgement. Sadly, mainstream society still does view the localised pockets of Goths, especially young Goths in their teens as being rebellious, when in reality anyone, regardless of their age, should be free to express themselves as they wish and spend time with likeminded people, the prejudice surrounding Goths and subcultures in general is severely damaging to individuals who identify within that subculture. The attack and murder of 20-year-old Sophie Lancaster and her boyfriend in 2007 has clear links to the misunderstanding of Goths and the prejudice against them and others who identify as alternative. It is evident that Sophie was “singled out” (Scott, 2007), due to the fact that she was dressed differently. Sophie’s mother, Sylvia set up the Sophie Lancaster foundation which aims to stop hate crime and prejudice everywhere, it is still evident “When talking to young people growing up today who dress in Goth and alternative clothing, it seems there is still a battle to fight” (Sylvia Lancaster, 2013). This is in reference to young people being accepted into mainstream society. There are still issues surrounding acceptance, despite the contemporary use of social media, forums and news outlets portraying the ever changing social and political messages in the UK. In reality, the prevalence of the internet at one’s fingertips should make individuals more educated on the importance of inclusivity and tolerance. The truth is, some mainstream societies are still extremely intolerant to the idea of any subculture. There is still a level of mis-understanding surrounding the true definition of what a Goth actually is. Ultimately, there is no set definition, rather an individual’s interpretation and what they ‘feel’ is the best way to express themselves. There is, however a misuse of the word in the sense that of the word ‘Goth’ as an adjective to describe “a catch all label for young people who like heavy metal, or emo, or punk, a way of defining anyone labelled as an outsider” (Spracklen, 2014). This is extremely damaging to the Goth subculture, as
Goth subculture is a community of likeminded individuals who look out for one another, not young people being rebellious or out to cause trouble within society. well as other separate subcultures, such as Punk or Metalhead. The idea of labelling someone who identifies within a subculture as an ‘outsider’ further increases the intolerance and prejudice towards the alternative cultures, as was the case with the tragic death of Sophie Lancaster, a young woman who was attacked for being an ‘outsider’ in the way she expressed herself. Despite the negative connotations associated with a localised Goth subculture being seen as ‘rebellious’ and the attempts to break down these beliefs and preconceived notions, the Sophie Lancaster Foundation, recognised as a charity in 2009, defines the word ‘Goth’ as a sub-category of the ‘alternative’ subculture, defined as “Alternative Subculture means a discernible group that is characterized by a strong sense of collective identity” (Sylvia Lancaster, CEO of The Sophie Lancaster Foundation). The disapproval from the mainstream, whether this is prejudice against an individual, such as Sophie Lancaster, or an entire group of people, in the case of Newcastle’s Hippy Green can have devastating effects for communities and individuals who are simply expressing themselves in a fashion that does not conform to society’s rules.
“ When talking to young people growing up today who dress in Goth and alternative clothing, it seems there is still a battle to fight” (Sylvia Lancaster, 2013).
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“Globalisation refers to all those processes by which the peoples of the world are incorporated into a single world society, global society.� (Albrow, 1990).
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Globalised subculture, and western culture in general is accelerated by globalisation. “Globalisation refers to all those processes by which the peoples of the world are incorporated into a single world society, global society.” (Albrow, 1990). The idea that Goth subculture is an international phenomenon is supported by specific case studies, specifically Finland’s Goth subculture. Interestingly enough, there is a deeper meaning to the Goth subculture in Finland, rather than focussing on community spirit and Gothic aesthetic, as seen with the case study of Newcastle. The popularity of the Goth subculture in Finland is impossible to ignore, “They are almost popular enough to be considered part of the mainstream” (Wood, 2018). Finland’s Goth community are not afraid to express themselves through dress and aesthetic, there are practical purposes, such as “tight, black clothing, heavy boots and leather jackets are typically better at keeping out the cold than clothing found in high street stores” (Wood, 2018). Most of the reasons as to why Goth clothing is widely accepted are practical, often to do with the climate of Scandinavia being extremely cold in the winter, averaging at just above freezing in October (www.metoffice.co.uk). The Autumn/ Winter season is the longest season in Finland. With the idea that bleak winters can trigger spikes in anxiety and depression. The phrase ‘wearing one’s heart on their sleeve’ can be taken literally in this case. Wood (2018) further emphasises the point that “dealing with the winter weather can also give Finns an extremely hardcore outlook on life”. This further supports the ideology that, despite the fact that Goth is defined under the alternative subculture, the level of understanding in Finland is often far greater than the level of understanding in the UK. The ability to see past the bleak weather gives Finnish people a “greater sense of self confidence” (Wood, J (2018) a Guide to Finland’s Goth Culture). The carefree outlook and self-confidence means that one can dress how they please without worrying about the consequences of how the mainstream may react. There is not the same level of fear in Finland of
Doc Martens, originally designed as a heavy duty work boot, have become synonomous with the alternative subculture.
“ Goth subcultures emerged in the socioeconomic decline and Thatcherite politics of late 1970s Britain, on the heels of punk’s infamous rebellion” (Goodlad and Bibby, 2007) p1). being misunderstood as there is in the UK, especially since 2007 when the attack of Sophie Lancaster occurred, and the rapid spread of the story on social media. Individuals in Finland are often more confident in being themselves and expressing themselves freely and confidently, whether this is simply for practical reasons or for deep set cultural purposes. There is not the same level of judgement in Finland surrounding self-expression or the expression of interest in alternative dress or culture as there is in the UK. The cultural reasons as to why Finland has such a prevalent Goth culture have links to heavy metal music, despite the fact that “Goth subcultures emerged in the socioeconomic decline and Thatcherite politics of late 1970s Britain, on the heels of punk’s infamous rebellion” (Goodlad and Bibby, 2007) p1). The term ‘Gothic rock’ was coined when metal and punk bands started to write more meaningful lyrics, regarding current political and social issues. Heavy metal bands are a huge aspect of Finnish culture due to the fact that nearly one in fifty people are part of a heavy metal band. The large population of Finns who are involved in heavy metal bands make it impossible
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for the mainstream to ignore, let alone prevent, whether they approve of it or not. The climate of Finland “creates a morose atmosphere” (Wood, 2018), yet people still have a relatively positive outlook on life, despite the bleak weather. The localised Goth culture, prevalent in Newcastle is definitely seen in Finland, with influences drawn from the same sources of religious and occult bricolage and Gothic literature. However, the reasons one may choose to identify with the Goth subculture are different. In Newcastle, the localised Goth subculture is seen as a community, whereas in Finland, there are more deep set cultural and practical reasons as to why someone may want to identify with a Gothic aesthetic. The seemingly inclusive mainstream in Finland and localised Goth culture in Newcastle is starkly different to mainstream society in Uzbekistan, specifically the capital of Tashkent. Diloram Ibrahimova (2012), The Last Goths of Tashkent, reported that the primarily Muslim nation of Uzbekistan is not at all welcoming to the Goth subculture. The theory proposed by Mohd Aslam Bhat (2014) states that “Soviet authorities faced a dilemma: the more they attempted to censor Western cultural products, the more popular they became”. Despite the collapse of the Soviet Union in 1991 (history.state.gov.uk) the political ideologies implemented by the Soviets can still be prevalent. The Soviet belief was that western culture, specifically identifying as a Goth was “undesirable cultural behaviour” (Ibrahimova (2012). Despite this belief and referring to youth fashions as ‘unorthodox’, displaying fashion linking one to a subculture can be interpreted by society as a “threat for the political elite” (Ibrahimova (2012).
There have always been opposing opinions towards Goths and general western influence in Uzbekistan, the current opinion overall is negative. 12
Interviewing a local Goth by the name of Leticia, she quoted that there were “barely 200 Goths in Uzbekistan, a country with a population of 30 million”. This was the case with the Soviet Union, which was the political elite in Uzbekistan, which has since collapsed due to western influences, namely intervention from George Bush Senior. It is understandable that the society in Uzbekistan is reluctant to accept new subcultural western influences. There have always been opposing opinions towards Goths and general western influence in Uzbekistan, the current opinion overall is negative. The so called backlash against Goths in current time (2012, when Ibrahimova conducted his report) was triggered by a “desecration of a cemetery”, which was very quickly blamed on the small Goth community within Tashkent. Interviewing a local Goth by the name of ‘Leticia’, she quoted that there were “barely 200 Goths in Uzbekistan, a country with a population of 30 million”. The prevalence of the Muslim religion, with the strict religious beliefs of how one should behave. This was not the case when “girls from a Muslim background who turn to the Goth aesthetic and start wearing accessories like crosses and skulls” (Ibrahimova (2012). Due to the religious nature of these items, it is understandable that this would instigate fear or anger among the Muslim community. However, it has been found, as with the case study of Newcastle, that borrowing influence from religious and Pagan bricolage gives Goths the unmistakable aesthetic, despite the understandable opposition of western influences, such as using religious signs and symbols derived from Christianity and Paganism, but also being interested in Gothic rock and Gothic literature novels. There is a small population of remaining Goths in Uzbekistan. Regardless of the backlash from the mainstream within Tashkent, the traditional ‘Victoriana and flouncy fashion’ is still prevalent, with Uzbekistan Goths drawing similar influences as Goths from a western background, Newcastle Goths borrow influence from religious iconographies and Gothic literature. Western influences, have in the past caused political back-
lash and collapse, as with the case with the Soviet Union, however, Gala Vince (2006) contradicts dominant Soviet beliefs, quoting that Goth subculture is “a strongly non-violent and accepting subculture”. Western sources, those written by Europeans or Americans do propose a writer’s bias in terms of the way they describe Goths. This could also stem from the lack of vicious political turmoil or unrest in western societies, or if there has been it has not been to the same degree as the collapse of the Soviet Union. This means that the fears of Goths within Uzbekistan are acknowledged by the Western world, due to the fact that it is western influences, namely influences from America, Uzbekistan society believes caused the Soviet Union collapse. The distaste towards Goths within Tashkent is also impacted by the politics, and fear of further political collapse within Uzbekistan, specifically towards Russian media outlets. Despite the fact that the Soviet Union collapsed in 1991, many Uzbeks are still influenced by the Russian media sources. The BBC reported that a certain Russian State TV channel broadcasted in 2012 that “goths engage in cannibalism” (Ibrahimova, 2012, on behalf of the BBC). The viewers of such broadcasts are influenced by such claims, regardless of their education on subcultures, or any rational opinions. This further fuels their hatred towards the alternative cultures, in effect demonising it. The BBC, a British news broadcast will unintentionally have western influences, bias and political messages. This media broadcast is not currently accredited in Uzbekistan. This causes further issues especially in a culture that is already opposed to western influences for political reasons, the introduction of further change or western influence may spark fear into communities, especially if these sub-cultures are religious or politically driven.
Despite the fact that the Soviet Union collapsed in 1991, many Uzbeks are still influenced by the Russian media sources. bricolage of Christianity with Victoriana and Pagan influences and the ideology of romanticising death, these ideas are not welcomed by the strict Muslim mainstream, who already are reluctant to accept any western influences on how one should live their life. Whether the Goth subculture prevalent in Uzbekistan creates a cultural capital, similar to that in Newcastle, is unclear, though not likely, considering that any belief that is different to the dominant Muslim society is believed to be wrong. In fact, the Goths interviewed by Ibrahimova were quoted to have plans to emigrate to European countries, such as Poland and Germany, where they can be free to be themselves without any prejudice or hate. The migration of Goths from Uzbekistan to other European countries further globalises the Goth subculture, with Goths of Uzbekistan bringing their translation of the subculture to other countries, such as Germany, where their translation of the subcultural signs and symbols may vary again.
The dominant culture in Uzbekistan is Muslim. With regards to alternative culture and dress, particularly those drawing influence from the
“ Soviet authorities faced a dilemma: the more they attempted to censor Western cultural products, the more popular they became” (Mohd Asham Bhat, 2014). 13
It is very evident that what is seen as a localised subculture can be seen and translated by people on an international scale.
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The case studies analysed have demonstrated that, despite the clear cultural divide between Newcastle in the UK, where the localised pockets of Goths demonstrate a level of community spirit, or what Sylvia Lancaster refers to as a “collective identity” (Sophie Lancaster Foundation, 2013). Finland’s translation of the Goth subculture doesn’t necessarily focus on the idea of collective identity, but rather the practicality of Gothic outerwear being the ideal item to protect an individual from the frigid winters. Both these case studies view Goths in a relatively positive way, contrary to the prejudice against the Goths in Uzbekistan, where the media portrays them as ‘cannibals’. It is very evident that what is seen as a localised subculture can be seen and translated by people on an international scale. This is very different to the origins of Goths in the 1980’s, originally being influenced by punk, with the addition of literature and music. The development of social media and the internet has allowed the spread of signs and symbols, relating to the subculture, to people across the globe for them to then translate and appropriate them into something they can identify with, there is no correct way to identify as a Goth. In the 1980’s, when Goth subculture was first derived, it drew influence from the Punk aesthetic. Whilst Punk was derived from rebellion and distaste towards the political situation in Britain during the 1970s, Goths drew from the dark aesthetic, while still retaining their individuality and definitive religious and Victorian influences. The internet, or the World Wide Web, as we know it today, was developed in 1990 (Andrews, 2019). This was a full decade after the origins of Goth subculture started to be prevalent in the mainstream and there is no doubt that the development of the internet has aided the spread of a subculture on a globalised level from humble origins in the UK. Forums, such as www.whatisgoth.com has helped those who identify as a Goth to connect with other individuals on an international scale, further globalising the Gothic ideas and beliefs. The ideology is that one can share personal
experiences of the Goth subculture with someone who may be on a different continent. This is the case with the small pockets of Goths in Uzbekistan, they are using bricolage from the Christian and Pagan religion and translating it into their own version of the Gothic aesthetic. While strict mainstream societies may look down on this development, the fact is that if social media and the internet did not exist, the small pockets of Goths within Uzbekistan would be further isolated. There is already an issue with there being ‘barely 200’, due to strict Muslim religion, but also the inability for one to express themselves is highly damaging to one’s mental health, especially if they feel that they have no one to relate to. The Goth subculture in Finland, although superficially has a similar aesthetic to the Goth subculture and Gothic aesthetic in Newcastle, the core values have been translated in a different fashion. Whilst the Newcastle Goth subculture is defined as having a strong sense of belonging and community spirit, Finland’s core values are more cultural and practicality focussed. This is in the sense that tight, black leather clothing is practical for the harsh Scandinavian winters and keeping the frigid temperatures off the individual. The cultural values, while still drawing on Victoriana and religious bricolage, taking further influence from the heavy metal trend, or the development of ‘Gothic rock’, which has added a contemporary variation to the subculture. As mentioned previously, approximately 1 in 50 individuals are part of a heavy metal band (Wood, 2018), there is no denying that this music has had some cultural influence on the way people choose to identify themselves. Despite the prevalence of social media, which has no doubt helped the globalisation of the Goth subculture, Finnish people have retained their individuality with regards to their beliefs and cultural texts. This is a similar case with the Goths in Newcastle, whilst ‘Goth Saturday’ is no longer what it used to be, the fact that it is still referenced in contemporary news articles shows that the subculture made a real mark on the way Newcastle’s society views subcultures.
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Albrow, M (1990) ‘Globalisation’ http://www.unesco.org/new/en/social-and-human-sciences/themes/internationalmigration/glossary/globalisation/ [Date Accessed 31st October 2019] Andrews, E (2019) ‘Who Invented the Internet?’ https://www.history.com/news/who-invented-the-internet [Date Accessed 5th December 2019] Arthur, C (2012) ‘The History of Smartphones, a Timeline’ https://www.theguardian.com/technology/2012/jan/24/ smartphones-timeline [Date Accessed 30th November 2019] Bhat, MA (2014) ‘(Re)Experiencing The Now-Gone: Youth and Cultural Politics in Soviet and Post-Soviet Central Asia’, Asian Affairs, 45:3, 467-483 https://www.tandfonline.com/doi/full/10.1080/03068374.2014.951562?scroll=top& needAccess=true [Date Accessed 7th November 2019] Goodlad, L and Bibby, M (2007) ‘Goth Undead Subculture’, pp: 1- 14 Duke University Press [Date Accessed 22nd July 2019] Hodgson, B (2016) ‘Hippy Green, the Perfect Hangout for Newcastle’s Alternative Cultures’ http://www.chroniclelive.co.uk/news/north-east-news/hippy-green-newcastle-gothhangout-11834521 The Evening Chronicle [Date Accessed 19th August 2019]
Hodgson, B (2016) ‘Whatever Happened to Newcastle’s Hippy Green? How a Regular Meeting Place has been Transformed’ http://www.chroniclelive.co.uk/news/history/whatever-happened-newcastleshippy-green-11806541 The Evening Chronicle [Date Accessed 19thAugust 2019]
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Hodkinson, Paul (2016) Targeted Harassment, Subcultural Identity and the Embrace of Difference: a case study. The British journal of sociology. London Published by Routledge & Kegan Paul for the London School of Economics, pp. 541–561 [Date Accessed 2nd October 2019] Ibrahimova, D (2012) The Last Goths of Tashkent http://www.bbc.co.uk/news/world-asia-19009188 [Date Accessed May 2nd 2019] Lancaster, S, CEO (2013) The Sophie Lancaster Foundation, registered charity in 2009 https://www.sophielancasterfoundation.com/index.php/hate-crimes Registered Charity Number: 1129689 [Date Accessed 6th November 2019] Lancaster, S, Garland, J and Hodkinson, P (March 2013) https://www.sophielancasterfoundation.com/ Registered Charity Number: 1129689 [Date Accessed 6th November 2019] Latham, R (2014) ‘Goths and God’ Practical Theology Lancashire and Cumbria Theological Partnership, Carlisle, UK [Date Accessed 19th September 2019] Scott, J (2007) Are Young people Still Scared to be Goths https://www.bbc.co.uk/news/uk-40628457 [Date Accessed 3rd October 2019] Spracklen, K (2014) ‘The Strange and Spooky Battle over Bats and Black Dresses: The Commodification of Whitby Goth Weekend and the Loss of a Subculture’ Leeds Metropolitan University [Date Accessed 1st October 2019] Stoker, B (1897) ‘Dracula’ Archibald Constable and Company, Westminster, UK
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Vince, G (2006) ‘Goth Subculture may Protect Young Children’ https://www.newscientist.com/article/dn8996-gothsubculture-may-protect-vulnerable-children/ [Date Accessed 12thAugust 2019] Wood, J (2018) a Guide to Finland’s Goth Culture https://theculturetrip.com/europe/finland/articles/a-guide-to-finlands-goth-culture/ [Date Accessed 4th September 2019] Cambridge Business English Dictionary, Cambridge University Press https://www.cambridge.org [Date Accessed 21st November 2019] https://history.state.gov/milestones/1989-1992/collapse-soviet-union United States Department of State [Date Accessed 22nd October 2019]
https://www.metoffice.gov.uk/weather/world/finland [Date Accessed 15th October 2019] http://www.whatisgoth.com international and forum based [Date Accessed 13th August 2019] RESEARCH BLOG LINK https://lmdesignincontext.tumblr.com
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Goth subculture and Gothic style can be linked to literary influences, but also have cultural relevance, depending on the location. This paper delves into the case studies of Newcastle Upon Tyne as an example of a localised subculture, looking into the rise and fall of the local tradition of ‘Goth Saturday’ and how the Goth subculture is diffused across the city. Globalised case studies, spreading across multiple nations, will undoubtedly interpret the Goth subculture in different ways. Case studies of Goth subculture in Finland and Uzbekistan demonstrate this. The comparison between the ‘globalised’ subculture and the smaller ‘localised’ subculture will have apparent differences, especially focussing on the acceptance from the mainstream and any issues rising from prejudice against those who identify as Goths.
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