Pub Date : 2022-09-02DOI: 10.1080/25739638.2022.2164120
J. Juhasz
ABSTRACT The article gives an overview on the historiography of the disintegration of Yugoslavia, focusing primarily on Western academic literature. It briefly presents the debates about the wars of the 1990s, summarizing the orientalist/balkanist interpretations, the explanation of the “failed Westernization,” and concepts of Greater-Serbian aggression and Great Power rivalry. The study concludes that all interpretations – except for the extremist branch of the Orientalist paradigm (which focused on the so-called primordial ethnic hatred) and the excesses of national narratives – have, to a varying degree, rational substance. They all make a contribution to the multidisciplinary and multicausal understanding of the disintegration of Yugoslavia in certain aspects. The study further establishes that enough knowledge has been accumulated by now to enable historians to gain – while not a “full and accurate,” but a reliable – picture of what happened. However, greater availability of primary sources as well as a broader comparative approach is still needed.
{"title":"Paradigms and narratives in the historiography on the disintegration of Yugoslavia","authors":"J. Juhasz","doi":"10.1080/25739638.2022.2164120","DOIUrl":"https://doi.org/10.1080/25739638.2022.2164120","url":null,"abstract":"ABSTRACT The article gives an overview on the historiography of the disintegration of Yugoslavia, focusing primarily on Western academic literature. It briefly presents the debates about the wars of the 1990s, summarizing the orientalist/balkanist interpretations, the explanation of the “failed Westernization,” and concepts of Greater-Serbian aggression and Great Power rivalry. The study concludes that all interpretations – except for the extremist branch of the Orientalist paradigm (which focused on the so-called primordial ethnic hatred) and the excesses of national narratives – have, to a varying degree, rational substance. They all make a contribution to the multidisciplinary and multicausal understanding of the disintegration of Yugoslavia in certain aspects. The study further establishes that enough knowledge has been accumulated by now to enable historians to gain – while not a “full and accurate,” but a reliable – picture of what happened. However, greater availability of primary sources as well as a broader comparative approach is still needed.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"405 - 416"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41628639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/25739638.2022.2133441
N. Swain
ABSTRACT The article considers the situation of women in a single Hungarian collective farm - the Red Flag collective farm - in the mid-1970s on the basis of materials collected and interviews made at the time. It considers their work situation, their role in management, their contribution to the cooperative's leadership, and the impact of Hungary's new woman policy of the 1970s. Providing employment for women was a central goal of the farm leadership, but women were concentrated in less skilled jobs and 'female' professions. A few made it to middle management positions, but none got to the top, although they were better represented in party positions. Their contribution to household farming was was determining yet difficult to quantify.
{"title":"Patriarchy and paternalism on a Hungarian collective farm","authors":"N. Swain","doi":"10.1080/25739638.2022.2133441","DOIUrl":"https://doi.org/10.1080/25739638.2022.2133441","url":null,"abstract":"ABSTRACT The article considers the situation of women in a single Hungarian collective farm - the Red Flag collective farm - in the mid-1970s on the basis of materials collected and interviews made at the time. It considers their work situation, their role in management, their contribution to the cooperative's leadership, and the impact of Hungary's new woman policy of the 1970s. Providing employment for women was a central goal of the farm leadership, but women were concentrated in less skilled jobs and 'female' professions. A few made it to middle management positions, but none got to the top, although they were better represented in party positions. Their contribution to household farming was was determining yet difficult to quantify.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"335 - 351"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48381043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/25739638.2022.2133440
A. Bodnar, Z. Varga
ABSTRACT This paper presents insights from research conducted on the transition from the traditional peasant lifestyle to that of the “modern cooperative”. Based on archival research and oral history interviews, the authors focus on the effects on peasant women’s lives of socialist collective farms as new compulsory workplaces. The investigated villages (Mezőkaszony and Mihálygerge) are populated by ethnic Hungarians but are situated in two countries: Hungary and the Soviet Union. Nevertheless, the challenges that women faced with the creation of the collective farm system were similar. Using comparative micro-level analysis, the authors examine societal change and changes in family life from the point of view of women as collective farms were created and developed. In particular, they reveal the initial employment experiences of village women after the collective farms were formed and explore their changing life strategies as they adapted to the new agricultural system.
{"title":"Entering their first workplace: women in socialist agriculture. Soviet and Hungarian collective farms compared","authors":"A. Bodnar, Z. Varga","doi":"10.1080/25739638.2022.2133440","DOIUrl":"https://doi.org/10.1080/25739638.2022.2133440","url":null,"abstract":"ABSTRACT This paper presents insights from research conducted on the transition from the traditional peasant lifestyle to that of the “modern cooperative”. Based on archival research and oral history interviews, the authors focus on the effects on peasant women’s lives of socialist collective farms as new compulsory workplaces. The investigated villages (Mezőkaszony and Mihálygerge) are populated by ethnic Hungarians but are situated in two countries: Hungary and the Soviet Union. Nevertheless, the challenges that women faced with the creation of the collective farm system were similar. Using comparative micro-level analysis, the authors examine societal change and changes in family life from the point of view of women as collective farms were created and developed. In particular, they reveal the initial employment experiences of village women after the collective farms were formed and explore their changing life strategies as they adapted to the new agricultural system.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"317 - 334"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46592888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/25739638.2022.2164119
Jakub Drabik
ABSTRACT The Kotleba – People’s Party Our Slovakia (LSNS) was founded in 2010 and has been the centre of attention from Slovak media, academia and politicians since 2013. In spite of this interest, there appears to be no consensus in the way that it should be referred to – is it a neo-fascist, a neo-Nazi or a radical right-wing party? The aim of this study is an attempt to analyse the ideology of the LSNS based on both official and unofficial statements and the rhetoric of its representatives, the party’s agenda and propaganda. It argues that the party´s past, its constant attacks on democracy and the democratic system, the glorification of undemocratic regimes, declared efforts to achieve an “alternative to the contemporary decadent era,” and a “new epoch,” its international cooperation with similar movements, racists, anti-Semitic statements and the use of neo-Nazi symbolism indicate the neo-Nazi character of the party’s ideology.
{"title":"“With courage against the system.” The ideology of the people’s party our Slovakia","authors":"Jakub Drabik","doi":"10.1080/25739638.2022.2164119","DOIUrl":"https://doi.org/10.1080/25739638.2022.2164119","url":null,"abstract":"ABSTRACT The Kotleba – People’s Party Our Slovakia (LSNS) was founded in 2010 and has been the centre of attention from Slovak media, academia and politicians since 2013. In spite of this interest, there appears to be no consensus in the way that it should be referred to – is it a neo-fascist, a neo-Nazi or a radical right-wing party? The aim of this study is an attempt to analyse the ideology of the LSNS based on both official and unofficial statements and the rhetoric of its representatives, the party’s agenda and propaganda. It argues that the party´s past, its constant attacks on democracy and the democratic system, the glorification of undemocratic regimes, declared efforts to achieve an “alternative to the contemporary decadent era,” and a “new epoch,” its international cooperation with similar movements, racists, anti-Semitic statements and the use of neo-Nazi symbolism indicate the neo-Nazi character of the party’s ideology.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"417 - 434"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43477322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2089391
Irena Šentevska
ABSTRACT Laibach is a music and cross-media group from Slovenia, which develops a multi-disciplinary art practice. While exploring the relationships between art and ideology as their major point of interest, Laibach has appropriated a symbolically charged language of communication, which encompasses an eclectic assemblage of provocative and ambivalent artistic, political, and religious references, often relying on their shock value. Since their beginning, the group has been associated and surrounded with controversy, provoking strong reactions from the political authorities of former Yugoslavia and in particular in the Socialist Republic of Slovenia. Laibach’s international success commenced when the famed British label Mute Records signed them and released their 1987 album Opus Dei. In the over 40 years of Laibach’s existence, which coincided with the political, economic, and cultural transition in the European East, the group has crossed a wide path from being the harsh, ominous voice of the Slovene alternative cultural scene in socialist Yugoslavia to independent Slovenia’s major cultural export. This paper puts into an historical perspective the spectacular changes in Laibach’s uneasy co-habitation with the institutional framework and cultural mainstream of their home country, on the one hand, and the global contemporary art scene and music industry, on the other.
{"title":"A long march on the mainstream: chronicle of Laibach’s artistic career","authors":"Irena Šentevska","doi":"10.1080/25739638.2022.2089391","DOIUrl":"https://doi.org/10.1080/25739638.2022.2089391","url":null,"abstract":"ABSTRACT Laibach is a music and cross-media group from Slovenia, which develops a multi-disciplinary art practice. While exploring the relationships between art and ideology as their major point of interest, Laibach has appropriated a symbolically charged language of communication, which encompasses an eclectic assemblage of provocative and ambivalent artistic, political, and religious references, often relying on their shock value. Since their beginning, the group has been associated and surrounded with controversy, provoking strong reactions from the political authorities of former Yugoslavia and in particular in the Socialist Republic of Slovenia. Laibach’s international success commenced when the famed British label Mute Records signed them and released their 1987 album Opus Dei. In the over 40 years of Laibach’s existence, which coincided with the political, economic, and cultural transition in the European East, the group has crossed a wide path from being the harsh, ominous voice of the Slovene alternative cultural scene in socialist Yugoslavia to independent Slovenia’s major cultural export. This paper puts into an historical perspective the spectacular changes in Laibach’s uneasy co-habitation with the institutional framework and cultural mainstream of their home country, on the one hand, and the global contemporary art scene and music industry, on the other.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"183 - 200"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43504409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2089384
Jan Blüml
ABSTRACT This article presents a content analysis of Czechoslovak pop lyrics based on a survey of a representative corpus of the repertoire from 1962 to 1991 containing 271 commercially successful vocal–instrumental songs. Its aim is to capture the thematic development of song lyrics on a defined timeline with regard to the broader cultural and political context, especially in relation to political developments in Czechoslovakia after the occupation by Warsaw Pact troops in August 1968 and the subsequent phase of so-called “normalization”. In this sense, the article examines the concept of “normalization pop”, which appeared in Czech journalism immediately after the collapse of the communist regime and which gradually became part of the official interpretation of Czechoslovak popular music history. According to this view, the pop of the 1970s and 1980s, especially through its lyrics, fulfilled a primary propaganda function, thus fundamentally distinguishing itself from the authentic output of the previous decade. The article explores the extent to which such an interpretation corresponds to the real nature of pop of the period, and to what extent it is merely a construct of anti-communist tendencies seeking a vigorous rejection of the pre-1989 era and its official culture.
{"title":"The music mainstream in communism revisited: a corpus analysis of Czechoslovak pop lyrics (1962–1991)","authors":"Jan Blüml","doi":"10.1080/25739638.2022.2089384","DOIUrl":"https://doi.org/10.1080/25739638.2022.2089384","url":null,"abstract":"ABSTRACT This article presents a content analysis of Czechoslovak pop lyrics based on a survey of a representative corpus of the repertoire from 1962 to 1991 containing 271 commercially successful vocal–instrumental songs. Its aim is to capture the thematic development of song lyrics on a defined timeline with regard to the broader cultural and political context, especially in relation to political developments in Czechoslovakia after the occupation by Warsaw Pact troops in August 1968 and the subsequent phase of so-called “normalization”. In this sense, the article examines the concept of “normalization pop”, which appeared in Czech journalism immediately after the collapse of the communist regime and which gradually became part of the official interpretation of Czechoslovak popular music history. According to this view, the pop of the 1970s and 1980s, especially through its lyrics, fulfilled a primary propaganda function, thus fundamentally distinguishing itself from the authentic output of the previous decade. The article explores the extent to which such an interpretation corresponds to the real nature of pop of the period, and to what extent it is merely a construct of anti-communist tendencies seeking a vigorous rejection of the pre-1989 era and its official culture.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"147 - 165"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42816619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2089390
S. Mudrov
ABSTRACT This article analyses the response in Belarus to the Russia–Ukraine war, which started on 24 February 2022. Traditionally, the Belarusian president Alexander Lukashenko had been trying to maintain good working relations with Kiev, featuring Belarus as “the most reliable partner” of Ukraine. However, when Moscow launched its “special military operation” in Ukraine, Lukashenko chose to fully ally with Russia, allowing the free passage of the Russian Army through the territory of Belarus and the use of necessary infrastructure by Russian forces. In his justifications of the war, Lukashenko deliberated on themes such as regional security and possible threats from Ukraine. The state-controlled media have provided extensive explanations for the Moscow invasion, speaking about the necessity of settling the Donbas conflict, the aggressive policy of Kiev in relation to Belarus, the inadequate behaviour of Ukrainian elites, and the need for de-Nazification of Ukraine. The discordant voices were mainly coming from the opposition media, which had developed a pro-Ukraine narrative. Given a lack of reliable surveys, it is not possible to properly assess the attitude of the general public towards the war in Ukraine, although it is likely that most Belarusians would sympathize the Moscow’s interpretations of events.
{"title":"“We did not unleash this war. Our conscience is clear”. The Russia–Ukraine military conflict and its perception in Belarus","authors":"S. Mudrov","doi":"10.1080/25739638.2022.2089390","DOIUrl":"https://doi.org/10.1080/25739638.2022.2089390","url":null,"abstract":"ABSTRACT This article analyses the response in Belarus to the Russia–Ukraine war, which started on 24 February 2022. Traditionally, the Belarusian president Alexander Lukashenko had been trying to maintain good working relations with Kiev, featuring Belarus as “the most reliable partner” of Ukraine. However, when Moscow launched its “special military operation” in Ukraine, Lukashenko chose to fully ally with Russia, allowing the free passage of the Russian Army through the territory of Belarus and the use of necessary infrastructure by Russian forces. In his justifications of the war, Lukashenko deliberated on themes such as regional security and possible threats from Ukraine. The state-controlled media have provided extensive explanations for the Moscow invasion, speaking about the necessity of settling the Donbas conflict, the aggressive policy of Kiev in relation to Belarus, the inadequate behaviour of Ukrainian elites, and the need for de-Nazification of Ukraine. The discordant voices were mainly coming from the opposition media, which had developed a pro-Ukraine narrative. Given a lack of reliable surveys, it is not possible to properly assess the attitude of the general public towards the war in Ukraine, although it is likely that most Belarusians would sympathize the Moscow’s interpretations of events.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"273 - 284"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46647579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2092259
Karel Šima, Zdeněk Nebřenský
While in Western Europe and the USA the intersection between politics and music mainstream has been studied from theoretical and empirical perspectives for decades, in Central and Eastern Europe this kind of research has been very limited. So far much has been written about how protest, resistance, and the counterculture generated by popular music undermined communist dictatorships (Rybak 1990; Klaniczay and Trencsényi 2011). No less attention has been paid to the spread and adoption of Western popular music in the Soviet Bloc through which East Europeans culturally and politically colonized themselves before and after the fall of communism (Yurchak 2006; Mazierska and Gregory 2015). Popular music also found an important place in the political transformation and transition to democracy (Ramet 1994; Buchanan 2006). The nuanced approach was offered by the concept of aesthetic cosmopolitanism that understands popular music in Eastern Europe as an autonomous product that was developing according to its own logic in the global context (Mazierska 2016). In these works, scholars reflected just partially on the intersection of the political and music mainstream. Following in the steps of Ewa Mazierska, this thematic issue attempts to challenge the Iron Curtain paradigm in popular music studies and more importantly to look at how popular music was produced, distributed, and consumed in the entangled web of political powers that goes well beyond the East-West divide and the capitalism-communism dichotomy. The issue seeks to analyse the role of popular music in a broader scope concerning genres and scenes. Apart from rock labelled as the soundtrack to communism’s demise, the issue tries to cover disco and electro-dance (“disco polo”). Moreover, the issue traces long-term legacies across the political changes in the region. It strives to cover the period from the 1960s when popular music became a key factor in building a mass consumerist youth culture (Shuker 2001) and it seeks to look at dis/continuities up to the present wave of populism and re-nationalization in Central and Eastern Europe. The approach combining politics and music mainstream has been already acknowledged. With a strong starting reference in Theodor W. Adorno and the Frankfurt school, music has been analysed as an artistic expression that both represents and undermines social, political and economic order. Along this line Jacques Attali, a political advisor who congenially coupled political and economic expertise with aesthetic theory, saw the role of the political economy in
{"title":"The politics and the music mainstream in Central and Eastern Europe: introduction","authors":"Karel Šima, Zdeněk Nebřenský","doi":"10.1080/25739638.2022.2092259","DOIUrl":"https://doi.org/10.1080/25739638.2022.2092259","url":null,"abstract":"While in Western Europe and the USA the intersection between politics and music mainstream has been studied from theoretical and empirical perspectives for decades, in Central and Eastern Europe this kind of research has been very limited. So far much has been written about how protest, resistance, and the counterculture generated by popular music undermined communist dictatorships (Rybak 1990; Klaniczay and Trencsényi 2011). No less attention has been paid to the spread and adoption of Western popular music in the Soviet Bloc through which East Europeans culturally and politically colonized themselves before and after the fall of communism (Yurchak 2006; Mazierska and Gregory 2015). Popular music also found an important place in the political transformation and transition to democracy (Ramet 1994; Buchanan 2006). The nuanced approach was offered by the concept of aesthetic cosmopolitanism that understands popular music in Eastern Europe as an autonomous product that was developing according to its own logic in the global context (Mazierska 2016). In these works, scholars reflected just partially on the intersection of the political and music mainstream. Following in the steps of Ewa Mazierska, this thematic issue attempts to challenge the Iron Curtain paradigm in popular music studies and more importantly to look at how popular music was produced, distributed, and consumed in the entangled web of political powers that goes well beyond the East-West divide and the capitalism-communism dichotomy. The issue seeks to analyse the role of popular music in a broader scope concerning genres and scenes. Apart from rock labelled as the soundtrack to communism’s demise, the issue tries to cover disco and electro-dance (“disco polo”). Moreover, the issue traces long-term legacies across the political changes in the region. It strives to cover the period from the 1960s when popular music became a key factor in building a mass consumerist youth culture (Shuker 2001) and it seeks to look at dis/continuities up to the present wave of populism and re-nationalization in Central and Eastern Europe. The approach combining politics and music mainstream has been already acknowledged. With a strong starting reference in Theodor W. Adorno and the Frankfurt school, music has been analysed as an artistic expression that both represents and undermines social, political and economic order. Along this line Jacques Attali, a political advisor who congenially coupled political and economic expertise with aesthetic theory, saw the role of the political economy in","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"141 - 146"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41753658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2089386
A. Kóczé
although Hungary’s more decentralized and more market-oriented model included nonagricultural activities in the countryside. The book would also have benefited from including a list of tables, and in some cases even better editing of some tables, which appear unclear. There is also a presumed mistake in the translation, for example on page (198), where CoCom has been named Comecon. But overall, this does not interfere with the reading in any noticeable way. Through the detailed description of actors in the transfers taking place, and the indepth information given in many footnotes, the reader receives a multifaceted insight into the so-called “Hungarian miracle”.
{"title":"Historicizing Roma in Central Europe: between critical whiteness and epistemic injustice","authors":"A. Kóczé","doi":"10.1080/25739638.2022.2089386","DOIUrl":"https://doi.org/10.1080/25739638.2022.2089386","url":null,"abstract":"although Hungary’s more decentralized and more market-oriented model included nonagricultural activities in the countryside. The book would also have benefited from including a list of tables, and in some cases even better editing of some tables, which appear unclear. There is also a presumed mistake in the translation, for example on page (198), where CoCom has been named Comecon. But overall, this does not interfere with the reading in any noticeable way. Through the detailed description of actors in the transfers taking place, and the indepth information given in many footnotes, the reader receives a multifaceted insight into the so-called “Hungarian miracle”.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"303 - 305"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42953651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/25739638.2022.2089389
Dawid Kaszuba, Anna Svetlova
ABSTRACT The aim of this article is to compare two artists – the Ukrainian Verka Serduchka and the Polish Sławomir – by analysing their most representative songs. The visual (music videos), sonic (genre), and lyrical factors of their performances are viewed as the elements of their musical personae (as understood by Philip Auslander). Verka and Sławomir are presented as folk-rooted but socially elevated stars who tend to mock political (auto)stereotypes through the lens of a rural–urban dichotomy. They both represent a specific local kind of “dance music,” that is a field where political discourse, strongly rooted in folk inspiration, is constructed, reproduced, and sustained. The objective is to disclose how they perform the mockery of classical values based on the themes of folk culture, stardom, and love, through their comedic personae.
{"title":"Performing musical personae. Verka Serduchka and Slawomir as examples of critical dance music","authors":"Dawid Kaszuba, Anna Svetlova","doi":"10.1080/25739638.2022.2089389","DOIUrl":"https://doi.org/10.1080/25739638.2022.2089389","url":null,"abstract":"ABSTRACT The aim of this article is to compare two artists – the Ukrainian Verka Serduchka and the Polish Sławomir – by analysing their most representative songs. The visual (music videos), sonic (genre), and lyrical factors of their performances are viewed as the elements of their musical personae (as understood by Philip Auslander). Verka and Sławomir are presented as folk-rooted but socially elevated stars who tend to mock political (auto)stereotypes through the lens of a rural–urban dichotomy. They both represent a specific local kind of “dance music,” that is a field where political discourse, strongly rooted in folk inspiration, is constructed, reproduced, and sustained. The objective is to disclose how they perform the mockery of classical values based on the themes of folk culture, stardom, and love, through their comedic personae.","PeriodicalId":37199,"journal":{"name":"Journal of Contemporary Central and Eastern Europe","volume":"30 1","pages":"201 - 215"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42419479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：