Suchergebnisse

Considerable scholarly attention has been given to Charter '77 as a site of dissent in the former Czechoslovakia. Yet there was a socially embedded site of resistance that was active long before the dissidents. We call this site the Czech woodcraft culture. With its mass popularity and its potent references to Native American anti-colonialism, the woodcraft culture has still barely registered among researchers. In this paper, we offer the first scholarly account of the origins of Czech woodcraft culture, starting in the early twentieth century. We argue that subsequent transformations of the woodcraft culture in the Czech landscape should be understood as popular, complex, and often ambiguous practices of resistance, from the internationalist inversions of a national bourgeois order in the inter-war period, to nostalgic and paradoxically nationalist subterfuges of the Soviet-imposed regime after 1968. We trace how, as a response to the state socialist regime's cultural and political pressures, the activities of Czech woodcraft culture were "layered with memories and experiences rooted in the pre-communist period" (Bren, 2002: 124). The Czech woodcraft culture as a whole provided its adherents with an autonomous space that enabled new forms of sociality, immersions in the natural world, and a host of long-standing voluntary associative activities that preceded the emergence of localized environmental movements and other sites of dissent around the Czech lands.

Considerable scholarly attention has been given to Charter '77 as a site of dissent in the former Czechoslovakia. Yet there was a socially embedded site of resistance that was active long before the dissidents. We call this site the Czech woodcraft culture. With its mass popularity and its potent references to Native American anti-colonialism, the woodcraft culture has still barely registered among researchers. In this paper, we offer the first scholarly account of the origins of Czech woodcraft culture, starting in the early twentieth century. We argue that subsequent transformations of the woodcraft culture in the Czech landscape should be understood as popular, complex, and often ambiguous practices of resistance, from the internationalist inversions of a national bourgeois order in the inter-war period, to nostalgic and paradoxically nationalist subterfuges of the Soviet-imposed regime after 1968. We trace how, as a response to the state socialist regime's cultural and political pressures, the activities of Czech woodcraft culture were 'layered with memories and experiences rooted in the pre-communist period' (Bren, 2002: 124). The Czech woodcraft culture as a whole provided its adherents with an autonomous space that enabled new forms of sociality, immersions in the natural world, and a host of long-standing voluntary associative activities that preceded the emergence of localized environmental movements and other sites of dissent around the Czech lands. [Reprinted by permission of Sage Publications Inc., copyright the American Council of Learned Societies.]

Resumen: A partir de una vasta investigación de la música virreinal contenida en los archivos catedralicios de las ciudades de México y de Puebla de los Ángeles, el artículo se propone demostrar que la música popular del México actual —manifestada principalmente en sones mestizos— se relaciona con los estilos que se encuentran en los villancicos catedralicios que fechan de la época de la administración de los reyes Habsburgos, a partir de la Conquista y hasta el segundo cuarto del siglo XVIII. Asimismo, propone justificar conclusiones paralelas a esta aseveración para demostrar la impopularidad de los gobiernos borbónicos entre el grueso de la población colonial, dada la escasa presencia de elementos derivados de los estilos "de conservatorio" de la música catedralicia de finales del siglo XVIII; y se describen a grosso modo los estilos musicales presentes en los archivos musicales de las catedrales de México y Puebla con el propósito de justificar estos planteamientos. Abstract: An encyclopaedic investigation of the music of the Viceregal period found in cathedral archives in Mexico City and Puebla de los Ángeles leads Stanford to argue here that popular Mexican music today – principally manifest in mestizo music – is related to the styles of cathedral Christmas carols of the Hapsburg period, i.e., from the Conquest through the second quarter of the 18 th century. In contrast, the paucity of late 18 th century Conservatory-style cathedral music in these archives suggests that Bourbon governments were unpopular with the colonial populations they administered. A general summary of the musical styles present (and absent) in the musical archives of Mexico City and Puebla justifies these conclusions.

Más allá del mito de la discreta regente de España, María Cristina de Habsburgo ofrece una imagen poliédrica que puede contribuir a calibrar la importancia política, cultural y social de la representación simbólica de la corona. Las imágenes —oficial, de la oposición y populares— de María Cristina son analizadas desde diversas perspectivas: la consolidación de una monarquía en crisis tras el fallecimiento de Alfonso XII pocos años después de la República, la creación de una identidad nacional todavía no afirmada y la conformación de los estereotipos de género en torno al discurso de la separación de esferas. Imágenes que daban respuestas muchas veces divergentes a las circunstancias que distinguían a Maria Cristina de otros monarcas: era regente y no reina por derecho propio, era extranjera pero ocupaba el trono español y era mujer pero desempeñaba la más alta magistratura del país. ; Going beyond the legend of the discreet queen regent of Spain, María Cristina Hapsburg offers a multi-faceted image that may contribute to calibrating the political, cultural and social importance of the symbolic representation of the crown. The images of María Cristina posited by the establishment, the opposition and the people are analysed from different angles: the consolidation of a monarchy in crisis following the death of Alfonso XII a few years after the Republic, the creation of a yet-untried national identity and the shaping of gender stereotypes around the discourse of separation of spheres. The images often provided divergent responses to the circumstances distinguishing Maria Cristina from other monarchs: she was the queen regent and not the queen by right; she was a foreigner but sat on the Spanish throne and she was a woman but performed the role of the country's supreme judge.