Second Time Round: Fugal Memory in Ciaran Carson's For All We Know
In: Review of Irish studies in Europe: RISE, Band 1, Heft 1, S. 1-17
ISSN: 2398-7685
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In: Review of Irish studies in Europe: RISE, Band 1, Heft 1, S. 1-17
ISSN: 2398-7685
In: Utopian studies, Band 21, Heft 1, S. 91-117
ISSN: 2154-9648
In: Sociology of religion, Band 74, Heft 3, S. 343-369
ISSN: 1759-8818
In: History workshop journal: HWJ, Band 74, Heft 1, S. 131-155
ISSN: 1477-4569
In: The British journal of social work, Band 37, Heft 7, S. 1173-1188
ISSN: 1468-263X
In: Ethnopolitics , 5 (3) pp. 275-293. (2006)
This paper examines transnational relations between the Yugoslav successor states from the point of view of popular music, and demonstrates how transnational musical figures (such as Djordje Balascaronevicacute, Momccaronilo Bajagicacute-Bajaga and Ceca Razcaronnatovicacute) are interpreted as symbolic reference points in national ethnopolitical discourse in the process of identity construction. Another symbolic function is served by Serbian turbofolk artists, who in Croatia serve as a cultural resource to distance oneself from a musical genre associated by many urban Croats with the ruralization (and Herzegovinization) of Croatian city space. In addition, value judgements associated with both Serbian and Croatian newly composed folk music provide an insight into the transnational negotiation of conflicting identities in the ex-Yugoslav context. Ultimately the paper shows how the ethnonational boundaries established by nationalizing ideologies created separate cultural spaces which themselves have been transnationalized after Yugoslavia's disintegration.
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In: Municipal review: monthly publ. of the Association of Metropolitan Authorities, Band 2, S. 87-88
ISSN: 0027-3562
In: Internationale Wehrrevue, Band 12, Heft 3, S. 367-371
World Affairs Online
In: Issues in policy history #9
World Affairs Online
In: Adelphi paper, 309
In: Developments in food science 16