'Was ist aus uns geworden? – Ein Häufchen Sand am Meer: emotions of post-war Germany as extracted from examples of popular music

Popular Music ◽  
1998 ◽  
Vol 17 (3) ◽  
pp. 293-309 ◽  
Author(s):  
Fred Ritzel

Kurt Tucholsky wrote in 1923 in reference to an old ‘Fasching’ tune of that era that this song comprised the ‘most complete expression of the German “Volksseele” (“soul of people”) that one could imagine’ and that it ‘truly reveals the day and age we live in, how this age has evolved and how we ourselves come to terms with this age’ (Tucholsky 1975, p. 187). His argument can be compared to Kracauer's thesis on the effects of film (Kracauer 1979, p. 11). He suggested that the commercial character of mass cultural production was constantly affected by what was provided in a stream of feedback: only commodities which convincingly meet public expectations on either a latent or manifest level are successful with the public. If the masses are moved by a national rhythmic feeling, then the hits articulating that feeling can be seen as a kind of national expression. From this perspective, national and political identities are bound up in the daily emotional turbulence of the music industry.

Modern Italy ◽  
2009 ◽  
Vol 14 (3) ◽  
pp. 295-310 ◽  
Author(s):  
Paolo Magaudda

Over the last fifteen years, independent rock music has become a wider field of cultural production and consumption in Italy. Indeed, while during the 1970s and 1990s the production of independent music was connected predominantly to political movements, alternative subcultures and the antagonistic attitude of the ‘centri sociali’, in the present decade, independent popular music has moved towards the centre of the national music industry and the mass media of the musical mainstream. This article describes the phases of this process of institutionalisation, showing how the politically based culture of independent music is today at the centre of a symbolic struggle occurring between the values of authenticity, rooted in political youth cultures, and the strategic and pragmatic tendency towards integration into the mainstream of the national music industry. This analysis is carried out applying the Bourdieian concepts of ‘field of cultural production’ and ‘cultural capital’, together with their evolutions into the notion of ‘subcultural capital’. This theoretical framework is applied in order to show both the process of institutionalisation this cultural field is undergoing, and the symbolic struggle taking place between the original values of the political and cultural autonomy of music and the commoditisation of musical objects in the mainstream mass media and national industrial sector. Finally, it is shown how new agents who represent the independent popular music industry at the national level need to deal with claims for authenticity raised by the alternative and extreme wings of the independent music scene.


Author(s):  
Ana Petrov

In this article I address the ways in which rock band Bijelo Dugme (White Button) has become one of the symbols of the former Yugoslavia, by analyzing its activities and reception, both in the Yugoslav and the post-Yugoslav periods. Starting from 1974, when its first album was released, Bijelo Dugme gained high popularity and drew the attraction of the public due to its specific sound and image. Being between the East and the West, Yugoslavia’s popular music scene was constantly focused on searching for a kind of music that would epitomize the ‘authentic’ Yugoslav music. The folk-influenced hard rock sound (so-called shepherd rock) was recognized as such a feature and it soon became one of the symbols of Yugoslav culture itself, making Sarajevo one of its epicenters. I here argue that the band appears to be a Yugoslav symbol since (1) its active years coincide precisely with the period in Yugoslavia that was marked with relevant changes, beginning with its 1974 constitution and ending with its disintegration; (2) it is regarded as a feature representing one of the most important successes of the country’s popular music industry; and (3) it has had a specific ‘afterlife’ that sheds light on the ways culture in the Yugoslav era is perceived currently. Article received: May 1, 2017; Article accepted: May 8, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies 13 (2017): 43-59. doi: 10.25038/am.v0i13.182


Popular Music ◽  
2004 ◽  
Vol 23 (1) ◽  
pp. 79-89 ◽  
Author(s):  
MARCUS BREEN

A new struggle has emerged within popular music. This struggle is about technology and access to music through computer-mediated technology. Somewhat typical of the state of cultural things being more complex in their multiple articulations, this struggle runs in tandem with the historical struggle by youth for ‘their music’ against that of previous generations. The multiple characteristics of the struggle over cultural production, ownership and circulation represents a change from earlier days when pop music was articulated to youth culture and social movements, offering relatively direct relationships from one to another. (For example, ‘The Sixties’ became the shorthand reference for these cultural formations.) That relationship still exists, albeit in a self-conscious historical sense that requires continuous examination as it changes with the new generations of youth and the available technologies.


2017 ◽  
Vol 39 (1) ◽  
pp. 109-122
Author(s):  
Małgorzata Kiwior-Filo

LA BATTAGLIA PER LA LIBERTÀ — THE ANTI-FASCIST OPPOSITION OF THE BROTHERS CARLO AND NELLO ROSSELLI IN 1926–1937 The opposition activities of the Rosselli brothers, brutally killed on 9 June 1937 in Bagnoles­-de-l’Orne, France, by the French cagoualards, were rooted in their deep conviction concerning the necessity of fighting for freedom in fascist Italy, fighting that brought together Italian, Jewish and French anti-fascist circles. This was manifested in numerous initiatives and various kinds of oppo­sition activities undertaken by Carlo Rosselli b. 1899 — a writer, economist and politician — and his younger brother Sabatino Enrico b. 1900, known as Nello — a historian and journalist. Their collaboration with the opposition periodicals Noi giovani and Non Mollare, their work in the “L’Italia Libera” society, and, above all, in the social-liberal movement “Giustizia e Libertà”, fo­unded by the Rosellis in August 1929, the political programme of which was based on ideas included in Socialismo liberale published by Carlo, were an attempt to unite all non-communist forces that wo­uld be willing to fight together to put an end to the fascist regime. “Giustizia e Libertà” played an im­portant role in sensitising the public, especially outside Italy, to and informing it about the true fascist reality, the image of which was usually distorted by the regime’s propaganda or simply created by it. In Carlo Rosselli’s interpretation, fascism appeared as an anti-freedom and anti-liberal move­ment, “the most passive product of Italian history”, a manifestation of reaction and not revolution. In an article entitled La lotta per la libertà C. Rosselli concluded that fascism was, in a way, an “autobiography of the nation”. It took root in Italy thanks to some favourable circumstances, among which C. Rosselli listed a lack of moral formation of Italian society and conviction of the masses that they should become involved in political life, but also bias, romantic tastes, petit bourgeois idealism, nationalistic rhetoric, sentimental post-war reaction, and restless desire for “novelty” regardless of what was behind it. Carlo Rosselli saw one of the causes of the “triumph of fascism” in a degeneration of parliamentarism” and “inability to rally society around a constructive programme and create a uniform force” that would be capable of standing up to Mussolini. The contribution of the Rosselli brothers to the fight for freedom — encouragements to be­come involved, attempts to make people aware of the real problems exposed by fascism in Italian society — is unquestionable. Their intellectual legacy, political engagement and commitment, and anti-fascist opposition certainly deserve to be reflected upon by generations for whom the idea of freedom still remains invaluable.


2017 ◽  
Vol 17 ◽  
pp. 446-456
Author(s):  
V. V. Yusupov

The issue of development of forensic institutions of Ukraine in the ХХ century was studied. Until 1917, forensic medical examinations were conducted in the medical compartments of the provincial administrations, at the departments of forensic medicine of universities and in hospitals - by police doctors. The chairs of forensic medicine existed in the St. Vladimir Kyiv University, Kharkiv, Novorosiisk and Lviv Universities. Real organization of Ukrainian forensic medical institutions began in 1919 with the creation of the Medical Examination Department at the People’s Commissariat of Health. In 1923, the Main forensic medical inspection, headed by M. S. Bokarius, was founded. In the provinces the positions of forensic medical inspectors were created. In 1927 the sections of biological research were established in the Kharkiv, Kyiv and Odesa institutes of scientific andforensic expertise,where separate forensic examinations were conducted. In 1949 the institutions of forensic medical examination of the USSR were merged into the Bureau of Forensic Medical Examination, in Ukraine it was held in 1951. It was proved that forensic medical institutions developed at the following chronological stages: 1) until 1917 - forensic medical service in the Ministry of Internal Affairs; 2) 1917-1941 - prewar formation of forensic medical institutions; 3) 1941-1949 -forensic medical institutions during the war and in the first post-war years; 4) 1949-1990s - period of development of the bureau of forensic medical examinations of the countries of the USSR; 5) since the 1990s - development of expert institutions in the public health care system in independent postSoviet states. It’s stressed that formation of the forensic institutions in Ukraine is closely related with the development of forensic medicine departments of higher educational establishments. Forensic medicine departments were the basisfor practicalforensic medicine, professors provided daily assistance to forensic medical experts.


GIS Business ◽  
2020 ◽  
Vol 15 (1) ◽  
pp. 415-424
Author(s):  
Sugandha Shekhar Thakur ◽  
Dr Sachin Sinha ◽  
Dr Deepti Sinha

Media is considered to be the fourth pillar of democracy. Mass media in particular has immense potential to shape the attitudes of the common masses. With the passage of time, media is becoming an all-powerful engine of social change. It plays the role a catalyst in churning the minds of the masses. It would not be an exaggeration to say that the news items brought to the knowledge of the public pay a strong role in creating a mandate. People have varied choices when it comes to their media habits. They are greatly influenced by their socio-economic background and educational exposure. This paper aims to identify the influence of demographic variables like gender, age, education and employment status on the choice of media.  The paper also highlights the current and emerging media habits of people.


Author(s):  
Laurence Maslon

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.


Modern Italy ◽  
2016 ◽  
Vol 21 (2) ◽  
pp. 157-170
Author(s):  
Mila Milani

Long neglected by critical literature and historians, the Neapolitan journalSud(1945–1947) shared similar aims and objectives with the more famousIl Politecnico, although the two journals were inserted into and connected with lively yet different cultural environments and networks, which crucially influenced their outputs. Most notably, both journals paid significant attention to politically committed literary and essay translations. By combining an analysis of the journals’ articles and translations with the editors’ published and unpublished correspondence, the article reassesses the journals’ relationship and illuminates theengagementof the two editorial boards through translations. The analysis of the two intellectual networks and projects will re-establish the relevance ofSudin stimulating a transnational dialogue and will reconsider the role of translation in shaping the editors’ political identities. Finally, the article offers a geo-cultural perspective on post-war Italianimpegnoby charting its multiple, both national and transnational, identities.


Tempo ◽  
1944 ◽  
pp. 104-107
Author(s):  
W. H. Mellers

We are often told that there is to-day a promising efflorescence of musical culture in this country; that the public for ‘good’ music is growing rapidly; and that more adequate provision must be made for music in the post-war reconstructed world. Substantially I believe all this is true; but it does also seem to me that much potential cultural vitality may be wasted if these conclusions are accepted too easily, without enquiry into the premisses on which they are based. What do we mean by musical culture? What do we expect music to give us? The mere quantity of music played tells us nothing; we want to know what kind of relation the noise has to the society that produces it, we want to know what bearing it has on the way people live. If we look back a moment to consider some of the things that music has meant to people living before us, we shall soon see that our problems are peculiarly difficult, and that we may well need a virtually new technique to deal with them. A refusal to see our educational problems against the background of history will lead to confusion and incompetence in musical culture as in everything else.


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