Suchergebnisse

Sixties Europe examines the border-crossing uprisings of the 1960s in Europe on both sides of the Cold War divide. Placing European developments within a global context formed by Third World liberation struggles and Cold War geopolitics, Timothy Scott Brown highlights the importance of transnational exchanges across bloc boundaries. New Left ideas and cultural practices easily crossed bloc boundaries, but Brown demonstrates that the 1960s in Europe did not simply unfold according to a normative western model. Everywhere, innovations in the arts and popular culture synergized radical politics as advocates of workers' democracy emerged to pursue longstanding demands predating the Cold War divide. Tracing the development of a distinctive blend of cultural and political activism across diverse national settings, Sixties Europe examines an important, historically-recent attempt to address unresolved questions about human social organization that remain relevant in the present, and it offers an original history of Europe across a transformative decade.

Despite the explosion of interest in the "global 1968," the arts in this period - both popular and avant-garde forms - have too often been neglected. This interdisciplinary volume brings together scholars in history, cultural studies, musicology and other areas to explore the symbiosis of the sonic and the visual in the counterculture of the 1960s.

'In Search of Space' explores the history of Krautrock, a futuristic musical genre that began in Germany in the late 1960s and flowered in the 1970s. Not usually explicitly political, Krautrock bore the unmistakable imprint of the revolt of 1968. Groups arose out of the same milieux and shared many of the same concerns as anti-authoritarian radicals. Their rebellion expressed, in an artistic way, key themes of the broader countercultural moment of which they were a part. A central theme, the article argues, was escape – escape from the situation of Germany in the 1960s in general, and from the specific conditions of the anti-authoritarian revolt in the Federal Republic in the wake of 1968. Mapping Krautrock's relationship to key locations and routes (both real and imaginary), the article situates Krautrock in relationship to the political and cultural upheavals of its historical context.

Rock and communism were uneasy bedfellows in 1968. This was true in every country in which they came into contact, but nowhere more than in West Germany, where the student movement and counterculture had a particularly strong Marxist flavour, and where the proximity of the Cold War
frontier forced young nonconformists to grapple more forcefully than was typically the case elsewhere with competing conceptions of the nature and proper goals of revolutionary struggle. Occupying a conspicuous position in debates around issues of subcultural authenticity, the dangers of capitalist
recuperation, and the validity of, respectively, communist and anarchist approaches to the revolution, rock music was a key site of the political in 1968.

Hitler's storm battalions, the SA—their creation, organization, and worldview—have been the object of extensive scholarly study. A key factor in the victory of National Socialism, the SA has been understood above all as an exemplar of the political violence that helped to destabilize Germany's first parliamentary democracy. Attention to the role of the storm troopers in the Nazi seizure of power—a narrative in which the SA is centrally embedded, and in which it has been largely confined in the scholarship—has tended to foreclose other lines of analysis. Indeed, the metanymic linkage of the SA to the "failure of Weimar" has prevented scholars from considering the complex ideological and social field in which the storm troopers operated as the site of contingency that it was for contemporaries. Alongside a marching, singing, monolithic SA, policing the streets against National Socialism's enemies—an SA appropriate to the long-dominant scholarly focus on the reasons for Weimar's failure and Nazism's rise—another SA exists, one that had to be spoken for, indoctrinated, won over, infiltrated, and surveilled; an SA around which moral persuasion and ideological discussion played at least as prominent a role as the political violence that has so dominated the analytic concerns of historians and social scientists; an SA that attracted the attention of self-styled revolutionaries of every stripe in the seething chaos of Weimar politics, revolutionaries who sensed in the not-quite-closed ambit of the SA's political commitments—and in classed and gendered cultural assumptions with which these commitments were bound up—the utopian horizons of the possible, both before and after January 30, 1933.

The wave of anti-authoritarian political activity associated with the term "1968" can by no means be confined under the rubric of "protest," understood narrowly in terms of street marches and other reactions to state initiatives. Indeed, the actions generated in response to "1968" frequently involved attempts to elaborate resistance within the realm of culture generally, and in the arts in particular. This blurring of the boundary between art and politics was a characteristic development of the political activism of the postwar period. This volume brings together a group of essays concerned wi