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Abstract：
Almost since its inception, punk has been declared dead. What does it mean to live attached to something that is always, at least a little bit, gone? Examining how Justin Pearson merges personal accounts of death and mourning with a sense of punk that is rooted in loss in his memoir of his participation in a North American punk culture since the 1990s, From the Graveyard of the Arousal Industry, this article considers how a focus on living in the wake of the death of punk might shift scholarly and popular narratives told about punk. Punk outlives its death in the 1970s with a redemptive rebirth in which it became the subject of an anti-capitalist narrative. The article considers how Pearson\'s memoir explores a different framework by insisting that punk may not be able to separate itself from the wider world, and that while this might appear to deal a death blow to punk, it also names a persistent set of conditions that define punk. After placing the memoir in the context of this redemptive account of punk as well as among those who see its limits, the article offers an analysis of several scenes addressing personal losses that merge with Pearson\'s attachment to punk-as-something-dead-and-gone. The deaths that Pearson associates with punk rock are personal, but they also register the larger significance of loss for a subculture that cannot stop declaring its own demise, including especially the loss of a fantasy that sees punk as a refuge from the world.
摘要：
几乎自成立以来，朋克已经被宣布死亡。生活在永远的东西上意味着什么，至少有一点点,gone?examininghowJustinPearsonmusgespersonalaccountsofdeathandwalningwithasenseofpunkthatisroottolossinhisrememberofhisparticipationinaNorthAmericanpunkculturesincethe1990,从唤醒工业的墓地，这篇文章考虑了如何关注生活在朋克死后可能会改变学术和流行的叙事告诉朋克。朋克在1970年代以救赎的重生而死，成为反资本主义叙事的主题。这篇文章考虑了皮尔森的回忆录如何通过坚持朋克可能无法将自己与更广阔的世界分开来探索不同的框架，虽然这可能会给朋克带来致命的打击，它还命名了一组定义朋克的持久条件。在将回忆录放在这种对朋克的救赎性描述以及那些看到其局限性的人中之后，这篇文章提供了对几个场景的分析，这些场景解决了个人损失，这些损失与皮尔森对朋克的依恋有关。皮尔逊与朋克摇滚有关的死亡是个人的，但他们也记录了一个亚文化的损失的更大的意义，不能停止宣布自己的灭亡，尤其是失去一个幻想，认为朋克是世界的避难所。
