東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Pop culture, politics, and social tr...

Szemere, Anna.

Linked to FindBook

Google Book

Amazon

博客來

Pop culture, politics, and social transition.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Pop culture, politics, and social transition./
Author:	Szemere, Anna.
Description:	340 p.
Notes:	Source: Dissertation Abstracts International, Volume: 59-01, Section: A, page: 0329.
Contained By:	Dissertation Abstracts International59-01A.
Subject:	Literature, Slavic and East European. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9820881
ISBN:	9780591725575

Pop culture, politics, and social transition.
Szemere, Anna.

Pop culture, politics, and social transition. - 340 p.

Source: Dissertation Abstracts International, Volume: 59-01, Section: A, page: 0329.

Thesis (Ph.D.)--University of California, San Diego, 1998.

The present work follows the trajectory of a countercultural community in Hungary, organized around popular music and avant-garde art, over a period between 1980 and 1995. Viewing the music activities, texts, discourses, inter- and intra-group struggles in their shifting sociopolitical context, it attempts to capture the cultural dimension of transition from state socialism to postsocialist society. I used primarily ethnographic methods for data gathering. Over thirty interviews made with musicians, fans, and business entrepreneurs were complemented with the participant observation of numerous musical events. The systematic study of the alternative cultural periodical Magyar Narancs formed the basis of archival work.

ISBN: 9780591725575Subjects--Topical Terms:

1022083
Literature, Slavic and East European.

Pop culture, politics, and social transition.
LDR:03328nam 2200325 4500 001 1396071
005 20110531080548.5
008 130515s1998 ||||||||||||||||| ||eng d
020 $a 9780591725575
035 $a (UMI)AAI9820881
035 $a AAI9820881
040 $a UMI $c UMI
100 1 $a Szemere, Anna. $3 1674830
245 1 0 $a Pop culture, politics, and social transition.
300 $a 340 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-01, Section: A, page: 0329.
500 $a Chair: Chandra Mukerji.
502 $a Thesis (Ph.D.)--University of California, San Diego, 1998.
520 $a The present work follows the trajectory of a countercultural community in Hungary, organized around popular music and avant-garde art, over a period between 1980 and 1995. Viewing the music activities, texts, discourses, inter- and intra-group struggles in their shifting sociopolitical context, it attempts to capture the cultural dimension of transition from state socialism to postsocialist society. I used primarily ethnographic methods for data gathering. Over thirty interviews made with musicians, fans, and business entrepreneurs were complemented with the participant observation of numerous musical events. The systematic study of the alternative cultural periodical Magyar Narancs formed the basis of archival work.
520 $a The discourses and practices of autonomy, I argue, were essential to the musicians' struggles for a separate alternative space for their music. By drawing on Bourdieu's fields of culture and Lopes' concept of restricted popular art, a distinction is proposed between cultural autonomy as aesthetic ideology and political economic space. Both dimensions of autonomy furthered musicians' construction of collective or individual identity, albeit these were accentuated in a complex and, at times, reciprocal fashion.
520 $a In the early 1980s autonomy as artistic ideology ensured a measure of creative freedom for the community vis-a-vis the overall politicization of the music by fans and censors alike. With the opening up of the public sphere and the ensuing regime change, this ideology lost much of its political valence. Instead, musicians focused on the establishment and expansion of rock's infrastructure. Autonomy, always central to subcultural self-understanding, became more meaningful as political and economic space than a set of texts conceived as art. While increasingly contested, autonomy as ideology continued to inform collective and individual identities, both within the reorganizing rock music scene and in the broader institutional context of postcommunist cultural life. Intersecting with religious, postmodernist, feminist or other currents of thought, rock's status as art versus commercial culture was persistently disputed by musicians, either as a strategy to secure positional advantage in their field; or, on the contrary, it was actively explored as a source of existential meaning and guidance in a time of cataclysmic social change.
590 $a School code: 0033.
650 4 $a Literature, Slavic and East European. $3 1022083
650 4 $a Music. $3 516178
650 4 $a Sociology, General. $3 1017541
650 4 $a Sociology, Social Structure and Development. $3 1017425
690 $a 0314
690 $a 0413
690 $a 0626
690 $a 0700
710 2 $a University of California, San Diego. $3 1018093
773 0 $t Dissertation Abstracts International $g 59-01A.
790 1 0 $a Mukerji, Chandra, $e advisor
790 $a 0033
791 $a Ph.D.
792 $a 1998
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9820881