1,721,188 research outputs found
'Death to fascism isn't in the catechism': legacies of socialism in Croatian popular music after the fall of Yugoslavia
Full text linkThis paper discusses both textual and structural legacies of socialism in Croatian popular music since the collapse of socialism and Yugoslavia. Popular culture under Yugoslav socialism represented an uneasy compromise between socialist consciousness and capitalist consumerism: popular music experienced the same contradictions as other aspects of Yugoslav life such as shopping tourism, and negotiating the ideological field of socialist practice was a routine part of musicians’ professional lives. The most visible legacies of socialism in Croatian popular music are commentaries on everyday Yugoslav life and iconography which represent personal and public legacies of socialism after Yugoslavia. However, the negation of the socialist experience in certain anti-Communist musical texts is itself a legacy of socialism – not just because without socialism there would be nothing to negate, but also because a continued vestigial norm that entertainment should interpellate consumers within a state-backed collective identity has bridged the socialist and early post-socialist periods, continuing to define the limits of the acceptable discursive field for cultural production. The paper concludes by considering the prospects for a theory of popular culture under post-socialism as historical and geographical distance complicates the comparative
When Seve met Bregovi?: folklore, turbofolk and the boundaries of Croatian musical identity
Full text linkPopular music in Croatia has consistently been a field where the boundaries of national cultural identity are set, contested and transgressed. The most contentious boundaries involve Serbian culture and the abstract “east”, to which essentialized nationalist concepts of Croatian culture denied any similarity. The Croatian singer Severina’s attempt to represent Croatia at the 2006 Eurovision Song Contest with her song Moja štikla (My stiletto) called these aspects into question with connotations which could be claimed as both Croatian and Serbian. Although the song was justified with reference to the (disputed) authenticity of Croatian folklore, it ultimately suggested that Croatian cultural space could not be separated from that of the other ex-Yugoslav states
L’habit consacré des moniales
No full textBaker Catherine. L’habit consacré des moniales. In: Sorcières : les femmes vivent, n°17, 1979. Vêtement. pp. 73-77
Baker (Catherine) Les Contemplatives. Des femmes entre elles
No full textHervieu-Léger Danièle. Baker (Catherine) Les Contemplatives. Des femmes entre elles. In: Archives de sciences sociales des religions, n°48/2, 1979. pp. 250-251
Introduction: Thinking Politically with Popular Music of the Balkans
Full text linkThe introduction surveys the sociopolitical contexts surrounding historic and contemporary popular music in the Balkans. It explains the complexities of ‘popular music’ and other related terms in defining the field of study, including the problems of mapping anglophone concepts and terminology onto Balkan cultural contexts, and offers an overview of how research into popular music and politics in the Balkans has developed since the groundbreaking studies of the 1990s. It explains key choices in framing the volume by raising questions such as how ‘the Balkans’ and their boundaries might be defined in studying popular music; how to overcome the challenges of methodological nationalism; how to account for transnational connections that go beyond the Balkans; the impact of emerging themes such as global raciality and coloniality, the political economy of technology, and the repercussions of Russia’s full-scale invasion of Ukraine; and how popular music scholars’ ways of researching and knowing might make distinctive and equitable contributions to knowledge production about the region more widely
What is this ‘Balkan’ in Balkan Popular Culture?: Stuart Hall’s Sociology of Popular Culture, Identity and Race through Analogy and Connection
No full textThis chapter situates ‘Balkan’ popular music within a global politics of identity and difference and gives an example of how to use social and cultural theory to develop a research agenda, by reviewing how scholars of popular culture in the region have used Stuart Hall’s sociology to interpret questions of hegemony and ideology, relationships between cultural identity and diaspora and the meaning of ‘the popular’ itself. It then reflects more deeply on one of Hall’s early 1990s essays on identity, diaspora, ethnicity and race, ‘What is this “black” in black popular culture?'. Two readings of this essay illustrate the distinction between ‘analogy’ and ‘connection’ in relating theory on racialized difference in the West to ethnic and national identity in south-east Europe. Analogy can liken the hierarchical relationships between ‘Europe’ and ‘the Balkans’ to racialized hierarchies of domination elsewhere. Connection, meanwhile, can trace the transnational circulation of such imaginations of ‘race’ into (and out of) the Balkans, situating the region and its cultural phenomena within those global processes, opening up themes including the reception and creation of black popular culture in the Balkans, the significance of blackness in the racialization and activism of Roma and race’s role in imaginations of ‘Europe’ itself
Svetlana Alexievich's Soviet women veterans and the aesthetics of the disabled military body: Staring at the unwomanly face of war
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War memory and musical tradition: commemorating Croatia’s Homeland War through popular music and rap in Eastern Slavonia
No full textFrom the outbreak of the Homeland War (1991-95) in Croatia to the present day, popular music has been used as a means to commemorate the upheaval and sacrifice of Croatia’s war against the Yugoslav National Army and the Serb militia. This paper focuses on the musical commemoration of a particular region, eastern Slavonia, which was not fully integrated into the Croatian state until three years after the official end of the war. The narrative, vocabulary and symbols established during the immediate wartime phase have persisted into the present day when war memory has become inflected by post-war developments such as the indictment of Croatian Army officers for war crimes
Introduction: Making war on bodies: Militarisation, aesthetics and embodiment in international politics
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