‘Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ‘counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematize theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
""With this first of our "countercultures" dossier, we start with Andy Bennett’s introduction which examines the definition of the concept, before getting into theoretical questions, with Ryan Moore’s article on the relationship between the music of the 1960s counterculture and modernism, and Simon Warner’s articles on Andy Warhol’s "trash" aesthetic.
The second part deals with countercultural scenes in Italy, with Giovanni Vacca’s paper on the Neapolitan song, then three articles on the punk movement, with the Taqwacores Muslim punks (Aline Macke), Do It Yourself production ethics (Fabien Hein) and skinheads (Gildas Lescop). We then conclude with Philippe Birgy account of how local pop adapted the counterculture to the French context.
+ book reviews
+ An article by Olivier Julien on Djing
Nota Bene: An English version of both "countercultures" issues, with unpublished papers, will be published by Ashgate in late 2013/early 2014 (Sheila Whiteley and Jedediah Sklower, eds.)."
‘Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ‘counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematize theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
""With this first of our "countercultures" dossier, we start with Andy Bennett’s introduction which examines the definition of the concept, before getting into theoretical questions, with Ryan Moore’s article on the relationship between the music of the 1960s counterculture and modernism, and Simon Warner’s articles on Andy Warhol’s "trash" aesthetic.
The second part deals with countercultural scenes in Italy, with Giovanni Vacca’s paper on the Neapolitan song, then three articles on the punk movement, with the Taqwacores Muslim punks (Aline Macke), Do It Yourself production ethics (Fabien Hein) and skinheads (Gildas Lescop). We then conclude with Philippe Birgy account of how local pop adapted the counterculture to the French context.
+ book reviews
+ An article by Olivier Julien on Djing
Nota Bene: An English version of both "countercultures" issues, with unpublished papers, will be published by Ashgate in late 2013/early 2014 (Sheila Whiteley and Jedediah Sklower, eds.)."
Uploads
Volume ! by Giovanni Vacca
Sheila Whiteley & Jedediah Sklower, eds.
‘Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ‘counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematize theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
""With this first of our "countercultures" dossier, we start with Andy Bennett’s introduction which examines the definition of the concept, before getting into theoretical questions, with Ryan Moore’s article on the relationship between the music of the 1960s counterculture and modernism, and Simon Warner’s articles on Andy Warhol’s "trash" aesthetic.
The second part deals with countercultural scenes in Italy, with Giovanni Vacca’s paper on the Neapolitan song, then three articles on the punk movement, with the Taqwacores Muslim punks (Aline Macke), Do It Yourself production ethics (Fabien Hein) and skinheads (Gildas Lescop). We then conclude with Philippe Birgy account of how local pop adapted the counterculture to the French context.
+ book reviews
+ An article by Olivier Julien on Djing
Nota Bene: An English version of both "countercultures" issues, with unpublished papers, will be published by Ashgate in late 2013/early 2014 (Sheila Whiteley and Jedediah Sklower, eds.)."
Sheila Whiteley & Jedediah Sklower, eds.
‘Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ‘counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematize theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
""With this first of our "countercultures" dossier, we start with Andy Bennett’s introduction which examines the definition of the concept, before getting into theoretical questions, with Ryan Moore’s article on the relationship between the music of the 1960s counterculture and modernism, and Simon Warner’s articles on Andy Warhol’s "trash" aesthetic.
The second part deals with countercultural scenes in Italy, with Giovanni Vacca’s paper on the Neapolitan song, then three articles on the punk movement, with the Taqwacores Muslim punks (Aline Macke), Do It Yourself production ethics (Fabien Hein) and skinheads (Gildas Lescop). We then conclude with Philippe Birgy account of how local pop adapted the counterculture to the French context.
+ book reviews
+ An article by Olivier Julien on Djing
Nota Bene: An English version of both "countercultures" issues, with unpublished papers, will be published by Ashgate in late 2013/early 2014 (Sheila Whiteley and Jedediah Sklower, eds.)."