Subcultural Studies

The history of the radio from a socio-political perspective Since Nikola Tesla discovered radio waves in the late 1800s, radio has vastly influenced the world, how we get our news, how we communicate and how we entertain ourselves 1 . Politicians, the entertainment industry, advertisement agencies have all been immensely dependent on this technological equipment. It provided the first true method of mass communication, which allowed people to exchange information to each other with ease and efficiency. Without its invention our world would be completely different.

"Madonna is perhaps one of the most consistently transgressive and self-transforming artists of the late 20th and early 21st centuries. The recent release of two critically acclaimed and best-selling albums and a sold-out world tour have renewed media and academic interest in the artist. Madonna presents a set of strikingly new challenges to cultural analysis, and new developments in Gender, Queer and Ethnic studies have shed more light on her entire oeuvre. Whilst the contributors do refer to classic cultural theorists such as Baudrillard, Žižek, Foucault and Barthes, new theoretical approaches to Madonna's work feature prominently. In view of this, the present volume offers new perspectives on Madonna's work to date, addressing her configurations of race, gender and sex(uality) and with special emphasis on her resurrection after the Sex backlash in the early 1990s.

The collection focuses on new Madonna-related topics such as Hinduism, Judaism, Japanese culture, All-American culture, Queer culture, Motherhood and her influence on newer 'girl acts' such as the Spice Girls and Britney Spears. The book explores the themes of gender, sexuality, ethnicity and celebrity consumption through the lens of Madonna's songs, videos and shows. An international array of scholars portrays Madonna's popularisation of the notion that identity is not fixed and can be continuously rearranged and revamped. The book should have wide appeal for all those concerned with gender studies, cultural studies, ethnic studies, lesbian and gay musicology as well as popular music studies."

When reviewing the research of scenes and subcultures it becomes apparent, that economic aspects remain largely unresearched or exploratory (E.G. Hesmondhalgh, 1998; Lange & Bürkner, 2010). So far the economy of those formations has been mostly understood as being part of the cultural industries (or now referred to as creative industries ), or not even economic at all (Gebesmair, 2008; Handke, 2009). Based on research in the Berlin music scene around ‘underground’ techno and house music, I have come to different conclusions: I found micro-globalized and small-entrepreneurial infrastructures of clubs, marketing and booking agencies, shops, media and distributors run by club owners, promoters, DJs, booker and agency/club staff. They have an own value creation chain rooted in a common subcultural aesthetic and integral music culture – a scene economy (Kühn, 2011). By exerting various selective subcultural orientations (non-commerciality, familiarity, sell-out) these both cult ural and economic actors perform a post-modern form of aesthetic resistance (Kühn, 2013). Although the distinctions remain blurred, they thereby produce a subcultural/internal hierarchy (Bourdieu, 1996; Thornton, 1995) and draw boundaries around their mode of cultural production (Strachan, 2007; Moore, 2007). By combining Bourdieu’s theory of the cultural field with scene and subcultural theory (Hall & Jefferson, 2006; Hitzler, Honer, & Pfadenhauer, 2008; Muggleton & Weinzierl, 2003), the presented approach links both subcultural identities and cultural-economic structures together and heads towards overcoming the current dichotomy of subcultural and post-subcultural theory.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

http://sainsbury-institute.org/news-events/legislating-manga-workshop/

This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey

This article discusses the development of the goth subculture in Poland since 1999 in relation both to the technological advancements that gained popularity at the time as well as certain theories from the field of subcultural studies, such a liminal subcultures and subcultural capital. This was particularly important in the context of negotiating subcultural identity which was a problematic task, as some members were prone to claims of occupying a privileged position in goth hierarchy. The result of these negotiations, along with the influence of the German goth scene, which was often perceived as having a higher subcultural capital, was the introduction of the umbrella term “dark independent” that was adopted to designate the goth subculture and similar movements and scenes that were in some way related or associated with one another, facilitating its development, particularly in the context of liminal subcultures.

"The process of cultural globalisation does not always imply cultural homogenisation.
Rather, it can be seen as a process of cultural ‘glocalisation’ and hybridisation where
cultures continuously interact with and interpret each other to engender a hybrid
cultural form. As Arjun Appadurai (1993) contends, neither centrality nor peripherality
of culture exists in the context of cultural globalisation. Rather, transnational cultural
forms are likely to circulate in multiple directions.

This is particularly evident when examining Gothic & Lolita – a Japanese fashion trend
which has emerged since the late 1990s. Applying Jan Nederveen Pieterse’s theory of
‘globalisation as hybridisation’ (2004), and Roland Robertson’s concept of ‘glocalisation’
(1995), this article attempts to explore how this fashion trend manifests the process of
cultural ‘glocalisation’, hybridisation, and interaction through the localisation of Western
Goth subculture and especially, historical European dress styles in Japan. In addition,
it explores how the fashion signifies the idea of ‘reverse’ flow of culture through an
ethnographic observation of an English-speaking online community devoted to the
trend. The analysis of the online community also seeks to establish the idea that this
transnational cultural flow serves as an alternative to the local culture."

My thesis investigates complex issues implied by and connected with the Japanese movement known generally as Gothic & Lolita (G&L), focussing specifically on the Lolita fashion-based subculture and psychological motivations behind it. It discusses the transmigration of the movement’s ideas from Eastern to Western to Eastern societies, including differing cultural interpretations of 'Lolita' and their implications in terms of the Lolita phenomenon, while examining ideologies in context with conflicting connotations and paradoxes that arise from a label that combines perceptions about 'Lolita' with the 'Gothic'. It also addresses the 'Lolita Complex', a term that stems from the narrative of Vladimir Nabokov’s Lolita and is applied to a syndrome affecting older men and their attraction to young girls, and explores its associations with the Lolita subculture. The Lolita Complex, as the title of this thesis, also refers to the problematic complexities connected with and inferred by the movement. This thesis is multi-disciplinary. Although the emphasis is related to Fashion (or Design) History and Theory, my research also spans the fields of Subcultural Theory, Gothic Studies, Gender Studies, Asian Studies and Anthropology. It leans, though, more to the “theoretical” side, while my methodological approach relates closely to Analytic or Psychoanalytic Art History, based on my education and training as an Art and Design theorist. As such, this study is an analysis of the Japanese Lolita subculture. It is my theory or my reading of this cultural phenomenon, supported by evidence to state the overriding argument that the Lolita movement is symbolic of and represents a generation of young women who refuse to enter adulthood and 'grow up'.

This paper discusses the history of the acronym A.C.A.B. in the Italian language. It examines the mechanisms that have brought the acronym from the streets to literature and the role of the Skinhead and football Ultras sub-cultures in the language contact between English and Italian.

The article focuses on the football Ultras and their involvement in the stadium as a social situation and contextual environment from a linguistic point of view. The focus of the article is on the Fiorentina Ultras - Ultras Viola - as it is a very big community of
football followers with a historical role in the Italian Ultras phenomenon. Among the different means of communication adopted by the Ultras Viola, the article focuses on the
analysis of the banners exposed in the stadiums (114 banners exposed by the Fiorentina Ultras from the season 2004/2005 to 2008/2009). The banners are, together with the
choruses, the foremost mean adopted to communicate and they can be seen as a sort of crystallization of the Ultras’ messages. A sociolinguistic, sociosemiotic and sociosemantic
analysis of the banners allows us to identify the styles of communication and the different ways of expression as well as the constitutional dynamics of the Fiorentina Ultras’ identity.
Key words: Football Ultras, Linguistics, Communication

"Extreme music, such as death metal and grindcore, blasted onto the popular music scene in the 1980s. Since then, a new musical and subcultural dynamic has emerged between Australia and Japan in which extreme musicians from both places tour each other's countries. Affective Intensities aims to explore this dynamic and introduce readers to the embodied sensations, flows and experiences of being in extreme music scenes in Australia and Japan. Through an ethnography of extreme music in both countries, Rosemary Overell investigates what it means to go to gigs, play in bands and listen to extreme music. She pays particular attention to the intersections between gender, place and belonging in Australian and Japanese extreme music scenes, coining the concept of 'brutal belonging' to describe the intense, sometimes violent, sensations experienced in extreme music cultures."

Whilst the Gothic and Lolita subcultural movement arose in Japan, it represents a transmigration and collaboration of ideas between Japanese and Euro-American cultures, especially pertaining to the Gothic. It, therefore, initially shifted towards sites that shared similar interests regarding these gothic roots, such as the United Kingdom, United States, France, Germany, Austria, the Netherlands, Australia and Canada. In more recent years, however, growing “hotspots” have included Latin-American nations, with none more conspicuous than Mexico.
The transition of the Japanese Gothic and Lolita movement into Mexico poses new and pertinent questions associated with differing socio-politics and cultural understandings and meanings, particularly regarding gender, sexuality, and even religion. Why is this movement becoming prevalent in Mexico? Why does it resonate with participants there? How does it operate? What relationships does it have with local and historical traditions, rituals, practices, and superstitions? And, what does it say about the concept of Subculture, itself? Is the notion of a resistant subculture really dead? How is it transformed?
As both an “insider” (participant) and “outsider” (critical observer) researcher of the increasingly globalising Gothic and Lolita subculture, my most recent ethnographic studies, comprised of surveys, interviews and personal communications, have been concentrated on answering these questions in regard to Latin-American Lolita communities, with a focus on, or major case study being, Mexico. This paper reveals some of these findings, which will go towards my PhD: Doctor of Philosophy in Visual and Material Culture thesis, and subsequent publications.

Kathryn A. Hardy Bernal
Kathryn A. Hardy Bernal is an art and design historian and subcultural fashion theorist. She is currently a PhD candidate at Massey University, Wellington, New Zealand. Her latest research explores the translation and transmigration of complex socio-political ideas associated with the Lolita subcultural movement across Japanese, Euro-American, and into Hispanic cultures.

Th e MEDITERRANEAN LANGUAGE REVIEW is an interdisciplinary peer-reviewed forum for the investigation of language and culture in the Mediterranean, South-Eastern Europe and the Black Sea region. Th e editors of this periodical welcome articles, reviews, review articles, and bibliographical surveys in English, French, German, Italian, and Spanish relating to the following aspects of Mediterranean languages, past and present:

This thesis presents a perspective of the Berkeley 924 Gilman Street sub-cultural zeitgeist. I am an amateur ethnographer / sociologist and I was a participant at Gilman in the late 1980s and 1990s. Gilman is a volunteer-run collective. For many, punk sub-culture uses music to restore sanity in an insane post-industrialist neo-McCarthist and now also post-Reaganomic era. Individuals involved in Gilman are and have been involved in an on-going grassroots phenomenon. Gilman, like punk, has an outreach that is global. Punks from around the world understand that the message and standards for which this club was created helps keep ideas regarding equality and non-conformity open and active.

This dissertation focuses on an applied theatre project, Young Voices that has attempted to develop a method, which inquires how performance forms can facilitate youth inclusion. Issues related to young people have been discussed extensively throughout time and within many disciplines. Stanley Cohen (1972), J.J Arnett (1999), Sharon Nichols and Thomas Good (2004) and Monica Barry (2005), have examined the ‘anxieties’ that are often associated with the perceived image of young people in society and how these may often lead to their social exclusion. This method is to be used by youth workers with their role as ‘intercessors’ between young people and the adults that surround them (i.e. their parents, guardians, teachers); it adopts Augusto Boal’s Theatre of the Oppressed (TO) ethos, uses elements of his Forum Theatre (FT) workshop techniques and the theory/technique of verbatim theatre. The project’s research process is in the form of applied and verbatim theatre workshops; performance presentation and a performance lecture addressed to youth workers. The method looks at increasing and facilitating communication between various isolated adolescent groups through applied theatre using various ‘Boalian’ workshop techniques and FT to identify the participants ‘oppressions’. It intends at facilitating communication through applied theatre and verbatim theatre between youth and youth workers, by capturing the participants ‘oppressions’ and presenting them to an audience of their peers and youth workers. And it aims at facilitating communication through the combination of applied theatre and verbatim theatre with the attempt of beginning to bridge the gap amongst young people and the adults around them, through a recommended step by suggesting the involvement of the participant’s surrounding adults. The Young Voices method has been developed from the collaboration of several youth groups from around Scarborough and its district. The complete process attempts to assist teenagers in discussing their concerns from their own perspectives towards empowering them and raising awareness about how their opinions should be required for matters that concern them.

Desde su surgimiento a mediados del siglo XX el rock ha sido de especial interés para las ciencias sociales a partir el binomio de juventud y música. El presente trabajo es un estudio de caso sobre los discursos y las prácticas de los nuevos punks de Lima en el siglo XXI. Los rockeros subterráneos de los 80 bautizaron a estos jóvenes despectivamente como “chikipunks” por romper con los paradigmas que instauró el punk en el contexto nacional de los 80. Sin embargo, desde una profunda reflexividad y un inmenso acceso a información gracias al Internet,  estos nuevos punks desarrollaron nuevas rebeldías frente a la hegemonía que nos ayudan a pensar en categorías como subcultura, tribu urbana y escena. Usando una metodología cuantitativa y de enfoque microsocial, esta investigación nos muestra a través de los conciertos  los cambios y permanencias del género que sigue vigente con sus crecientes festivales que llegan a cifras de asistencia nunca antes vistas en el rock nacional.

Un esempio di incompatibilità tra discorso e cultura: la colonia arcadica Animosa di Venezia Rosina MARTUCCI -Università degli Studi di Salerno Le tre corone di Casacalenda: discorso e cultura nell'itinerario letterario di Pietro Corsi, Mary Melfi e Giose Rimanelli Florica DUŢĂ -Università Spiru Haret di Bucarest Metafore della condizione umana nel romanzo Le città del dottor Malaguti di Roberto Pazzi 15 00 -17 00 : Sala 336 Sezione: Letteratura comparata / Linguistica La parafrasi aggettivale dei verbi a completiva Svjetllana TITINI -Università "Aleksandër Moisiu" di Durrës La cultura italiana attraverso l'italiano nel panorama urbano albanese Silvia MADINCEA PAŞCU -Università Tibiscus di Timişoara Il testo giornalistico nella glottodidattica dell'italiano 6

Kamikaze Girls (dir. Tetsuya Nakashima, 2004) is a film that both extracts and informs the Japanese fashion subculture of the Elegant Gothic Lolita (EGL, gosuloli or Loli-Goth). Based on a light novel by Novala Takemoto (2002) and spawning Yukio Kanesada’s manga version in 2005, it is an example of shojo (teenage girls’) fiction. Released in Japan as Shimotsuma Monogatari, or Shimotsuma Story, Kamikaze Girls tells of the two unlikely companions, Momoko Ryugasaki (Kyoko Fukada), a 'Sweet' Lolita obsessed with the designer label Baby the Stars Shine Bright, and Ichigo ('Ichiko') Shirayuri (Anna Tsuchiya), a yanki, or biker-punk, member of a rough all-girl bōsōzoku (motorcycle gang). The narrative operates on a somewhat allegorical level and is certainly of a comical nature, weaving the girls’ histories throughout a fantastic multi-media world of anime, music video, and live-action sequences. On the surface, this colourful foray appeals as light entertainment yet on another level represents more topical cultural issues.

Kamikaze Girls interfaces with the realm of the EGL (Elegant Gothic Lolita) and the notion of 'cute gothic'. It has been said that Japan’s obsession with all things cute, or the kawaii phenomenon, represents an 'infantile mentality' (Kageyama 2006) and a reluctance to 'grow up' (Shoin 2006). It has also been related in general to post-war Japan’s perpetuating uncertainties about the future (Kayama 2004). In terms of the Lolita, says Kayama, the dressing as frilly babies symbolises still a deeper anxiety, instigated in the 1990s by economic instability and the wish to hang onto childhood security. This is perhaps one reason why the cult translates, for a minority of male followers, to that of the Elegant Gothic Aristocrat (EGA). For Japanese girls, though, this fear of adulthood is more pertinent in the face of the harsher realities of womanhood. This is interesting in terms of the sexual connotations of the Lolita in the West and the sexual ambiguities of the EGL. The focus of this paper, therefore, will be how Kamikaze Girls reflects more complex attitudes related to sexuality, gender and Japanese society via competing images of the cute and the gothic.

This thesis, completed for the award of Doctor of Philosophy in Visual and Material Culture, Ph.D., examines the development of the fashion-based Mexican Gothic and Lolita movement, and its evolution from its subcultural Japanese roots. It asks, “What are the cultural conditions that encourage this movement to flourish in the Mexican environment?” In turn, “What does Mexican culture contribute to Mexican Gothic and Lolita style?” And, “What does Mexican Gothic and Lolita style say about Mexican culture, society, and beliefs?”
The Gothic and Lolita movement is currently thriving in Mexico as an authentic, independent, creative, handmade fashion industry, yet to be co-opted into mainstream culture. With the do-it-yourself aspect of the movement comes its own, unique, cultural flavour. As such, it transforms and rearranges meanings of the original subcultural style in order to make new statements, which subvert the meanings, and understandings, of the Japanese Lolita identity. Analyses of Mexican Gothic and Lolita styles, in context with the Mexican environment, culture, and belief systems, as well as the operation of the do-it-yourself Mexican Gothic and Lolita industry, are major focal points of this study. Also investigated are the ways the movement reflects, fits into, and departs from, the philosophies of the original subculture, especially regarding sociocultural and gender politics. These latter aspects are critiqued in context with “normative” gender positions, roles and hierarchies, within mainstream Japanese and Mexican societies.

Боков Г.Е. В мире заброшенных городских пространств: новые формы идентичности некоторых молодежных неформальных субкультур. (От контркультуры к «городской разведке») // Философия и культура. — 2014. - № 9. - С.1284-1297. DOI: 10.7256/1999-2793.2014.9.12773

La presente investigación busca describir e identificar la composición del graffiti en la localidad de Fontibón. A través de este objetivo, se analizan los estilos y expresiones artísticas que caracterizan el graffiti. También busca identificar cómo estas subculturas se están apropiando de los espacios urbanos, cómo se implementan a través de sus expresiones artísticas y cómo demostrar la validez del concepto de su subcultura y las características en el presente. Durante décadas, constantemente surgen grupos neo con estructuras muy diferentes dentro de la misma comunidad. Inicialmente se realiza el análisis de los aspectos teóricos en los que se basa la investigación; para este caso, se toma como referente básico de subculturas, graffiti, cultura, rap y hip hop, que muestran las representaciones artísticas de esta subcultura.

Las interpretaciones espaciales de la subcultura Straight Edge se llevan a cabo principalmente en el espacio musical de la tocata, en el cual se desarrollan diversas experiencias enmarcadas en la dualidad de experiencias agradables y desagradables, existiendo también interpretaciones políticas y expresiones contraculturales. Por otra parte, el desenvolvimiento espacial de la subcultura, o su espacialización, se caracteriza por ser dinámica, versátil y flexible, en donde se encuentra determinada muchas veces por las posibilidades de realizar eventos musicales. Sin embargo, las tocatas no son el único lugar en donde los straight edge se hacen presentes en la ciudad de Santiago, sino que, el hecho interpretar de manera política el estilo de vida, lleva a que muchos de ellos desarrollen expresiones de este carácter en la ciudad.

PALABRAS CLAVE:  Straight Edge, subcultura, experiencia vivida, lugar, espacialización, contracultura, micropolítica.

Japan  has often been considered  by the rest of the world as an orderly country without much civil unrest. As evidence of that, Prime Minister Abe speech promoting Tokyo for the 2020 Olympic Games emphasized the  fact that the city was one of the safest in the world. However, dissatisfaction amongst Japans youth has frequently appeared in my  ethnography.  How  can  this  dissatisfaction  coexist  with  the  image  of  cohesion  and obedience that Japan sustains? In order to elaborate on this topic, this paper  introduces narratives from the dissatisfied youth in Japan that, due to seeing no prospect of change in  the  country,  have  opted  out  of  Japan  altogether,  preferring  to  live  their  lives  in countries  they  see  as  fitting  their  lifestyle  best.  More  than  discussing  this  phenomena through  the  lenses  of  class  privileges,  this  paper  also  sees  the  issues  surrounding  the choices  made  by  the  dissatisfied  young  Japanese  not  so  much  as  a  source  of cosmopolitan  subjectivity,  but  instead  as  a  condition  made possible  by  a  neoliberal ideology.  Such  ideology  commodifies  identities  and  notions  of  belonging,  shaping  the way the Japanese youth deal with dissent into more consumer oriented logics than those of  collective  politics  and  mobilization.  It  is  this  shift  from  the  citizen  to  the  consumer that, this paper argues, is behind the choice for escape rather than change.

Thematic analysis of public online vampire community (OVC) fora has demonstrated that empathy is a frequent topic within the OVC and at least occasionally regarded as central to the vampiric experience. An anonymous online survey was used to gather data on 283 respondents’ identities relative to the vampire community as well as their level of narcissism as measured by the Single Item Narcissism Scale (SINS) and their levels of emotional contagion, cognitive empathy, and emotional disconnection as measured by the Basic Empathy Scale for Adults (BES-A). Analysis found that non-VC-affiliated respondents reported no significant difference in levels of narcissism or emotional contagion than vampires considered collectively, though non-VC respondents registered as less emotionally disconnected and more cognitively empathetic than vampire respondents. Differences between respondents identifying as psi-vampires and those identifying as non-psi sanguinarians were significant. Non-psi sanguinarians reported higher levels of narcissism than psi respondents with a standardized mean difference (SMD) of 0.90, greater emotional contagion with an SMD of 0.55, and lower emotional disconnection with an SMD of 0.74. These findings are consistent with psi-vampire reports of intentionally shielding themselves from unwanted emotional contagion.

minden apró próbálkozása ellenére az Egyesült Királyság új dühhulláma átszivárgott vasfüggönyön és egyenesen az állami vezetők kompetenciáját, elkötelezettségét és néha akár személyes életét vette célba az 1980-as években. A magyarországi punk mozgalom mindent megkérdőjelezett, és a monolitszerű, öregedő kormány eltörlését hirdette, amelyhez a kormánypárt tudatlansága adta az üzemanyagot. Ugyan az újonnan született punkok hagyták ezt a belső tüzet égni, végig tudvalevő volt, hogy mindennek ára van. Bárki, aki kapcsolatba került a mozgalommal, passzív és nem ritkán aktív megfigyelés alá került, amelyet kihallgatások, letartóztatások és néha bebörtönzések is követtek. Jelen tanulmány Magyarország első punkhullámának rövid, de gazdag történetét próbálja feldolgozni az első zenekarok megjelenésétől a divaton, a médián és a dalszövegeken keresztül a börtöncellák zárjának első kattintásáig.

Link: https://ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServlet?dps_pid=IE35346381
From its inception, the subcultural movement known as Gothic and Lolita has displayed an exchange of ideas between Japan and Euro-American cultures. More recently, however, the subculture has shifted, not only regarding traditional meanings, and the way that it operates, but also geographically, into communities on the periphery of its original sites of major interest. In the past few years, Latin-American nations, particularly Mexico, have become conspicuous hotspots for participation in the movement. This transition raises questions about differing socio-politics and cultural understandings, particularly associated with gender.

As a girls’ subculture, Gothic and Lolita broke with historical, stereotypical frameworks that positioned subcultural movements from a male-dominated perspective. In Japan, it also demonstrated a resistance to established roles for, and expectations of, women. As such, it can be argued that the original Japanese Gothic and Lolita movement represented a new type of feminism. Over time, as the subculture transmigrated into other sites, especially the United States, United Kingdom, Canada, Australia, and North-Western Europe, this context became less pertinent. However, the relatively recent growth of Gothic and Lolita communities in Mexico exhibits a new phase of the movement, which shakes up past meanings and understandings, yet again, especially in terms of gender politics.

How is gender understood within the Gothic and Lolita movement in a Mexican environment? Why is this movement becoming prevalent in Mexico? How does it operate? And how is it transformed from its Japanese origins? As both an “insider” and “outsider” researcher of the Gothic and Lolita subcultural movement, this paper reveals some of the outcomes to these questions via a critical analysis of ethnographic studies undertaken with members of the movement in Mexico.

Der Aufsatz demonstriert die Sonderrolle West-Berlins an drei Prozessen exemplarisch auf dem Feld der Popgeschichte: Erstens der Ideologisierung aufgrund der herausgehobenen Frontstellung im Kalten Krieg (vor allem im Rundfunk), zweitens der Internationalisierung durch die Präsenz der drei Westalliierten in der Stadt sowie -- drittens -- einer subkulturellen Radikalisierung, die durch die Insellage West-Berlins und den Zustrom von "Totalverweigerern" begünstigt wurde. Indem der Text Landmarks und Topographien der Nacht katrographiert, entwirft er Teilbereiche einer "Popscape" West-Berlin, die es künftig -- auch vergleichend und transnational -- zu erforschen gelte.

Mal Nazis und mal deutsches Kulturgut. Leni Riefenstahl und die Berliner Band Rammstein teilen weitaus mehr als das R und die Geburtsstadt Berlin, nämlich das Schicksal auf Grund ihrer Ästhetik immer wieder als faschistisch, totalitär und nicht tragbar abgestempelt zu werden, auf der anderen Seite aber ein deutsches Kulturgut darzustellen, welches auch und vor allem im Ausland sehr erfolgreich ist. Während Leni Riefenstahl allerdings im 3. Reich die vielleicht aktivste und erfolgreichste Filmemacherin war und deshalb historisch ihre Rolle im Nationalsozialismus (NS) hinterfragt werden muss, gibt es bei Rammstein keine erkennbare Parallele zur faschistischen Ideologie des Deutschlands zwischen 1933 und 1945. Wie kommt es dann, dass dennoch solche Vorwürfe konstruiert, jahrelang gehalten und bis heut nicht ganz vergessen wurden? Der Grundstein dessen ist der, trotz aller historisch bedingten, gebotenen und notwendigen Vorsicht, verkrampfte Umgang der Deutschen mit martialischen Bildern und deren Wirkung.

summer 2020 • publication #1 • counterfield

THOSE WHO ARE WEARING SHOES WILL NOT REMAIN

There was, or better, there always were more than two sides and there still is, by way of a continuous, non-linear dissenting movement of black semiotics formed by unheard but spoken voices-a distinctive collective of vocal-body inflections and perceptions being produced and singularized in public spaces both in deep and urban Brazil, as well as in its many diasporic geographies elsewhere. We might call these inflections experimental cracked voices; black/latino/caboclo/pardo resistant broken musicalities, which have manifested themselves sonically, politically, and in-performance mode [physically and sensorially] for a number of years. In other words, unassimilated voices and assemblages of knowledge which have disrupted authoritarian narratives in our recent, peripheral pop history in different and specific moments of its continuum and, which have also disturbed the 'properness' of some of the country's national treasures, cultural objects and subjects in aesthetic, ethic and existential terms. That is, musico-sexual inflections that have taken an immense pleasure in acting against the usual dominant cultural, historical, scientific proponents, their official stories and normalised modes of serialized subjectivity.

In the article it is illuminated the phenomenon of “balagul’schyna” inherently nonconformist youth social movement 1830–1850's in the environment of Polish gentry of Right Bank Ukraine. Balaguly can be regarded as a link between the Ukrainian-Polish romantic kozakophilism beginning of the XIX century and ukrainophile movements of the second half of the XIX century, as well as precursors of youth subcultures and counter-culture of the twentieth century

"Graffiti and urban art on the Internet: Case Study: Spain Territory is a Paper Confference was featured in Urban Creativity User Experience Online Conference. 2020. Is a visual abstract about the original essay based on a study of keywords in the Spanish territory on 5 major search groups: graffiti, urban art, street art, street art and muralism. This study combines the data offered by Semrush and Google trends to offer an analysis of more than 300 keywords related to these search groups at the level of content, scope, cost per click, geolocation, audiences and other aspects that inform us about how It is generating knowledge about graffiti, urban art, street art, street art and muralism in the Spanish language on the Internet. Likewise, the study is complemented by numerous graphs that illustrate search trends over time, geolocate areas of interest and analyze some marketing behaviors associated with these phenomena that can be used as an SEO tool to improve associated web content. The quantitative approach of this study is complemented by different qualitative interpretations and specific conclusions about graffiti and urban art on the internet.

This paper presents part of the work developed by the History and Theory of Culture Seminar Series during its first course with the idea of confirming that collaborative working dynamics are one of the best tools for researchers to create critical knowledge and approach different subjects. To do that, and after an introductory epigraph to the Seminar's activity, we will share some of the questions and thoughts raised after discussing Resistance through Rituals as an evidence of the benefits of this way of working.

Resumen
Este estudio buscó identificar la estructura de socialización de una subcultura urbana con la medición de indicadores estructurales de su red social e identificación de subagrupaciones. Se empleó el instrumento Arizona Social Support Interview Schedule (ISSIS) con 11 miembros de la subcultura roqueros. Se procesaron los datos mediante el análisis de redes sociales (ARS) con el software Ucinet, para detectar conjuntos de actores con el procedimiento de conglomerados jerárquicos; y los gráficos de la red se crearon con NetDraw. Se identificaron niveles moderados de indicadores estructurales y las agrupaciones presentaron un número amplio de actores según el criterio de atracción por similaridad. Los subgrupos en la red fueron escasos, lo que muestra a la subcultura como una unidad social cuya integración se da por vinculaciones estrechas entre sus miembros.

Abstract
The objective of this study was to determine the socialization structure of a subculture or urban tribe, by measuring the structural indicators of its social network and identifying sub-groupings. Eleven members of the rock subculture were evaluated through the Arizona Social Support Interview Schedule (ASSIS). The data was processed using the social network analysis (SNA) with the software Ucinet, and networks graphs were created with NetDraw. It was possible to identify moderate levels of structural indicators in which groupings of large numbers of actors under the criterion of attraction by similarity was significant. Finally, there were few subgroups within the network, which indicates that the subculture is a social unit where integration is achieved by close ties among its members.

Resumo
Este estudo buscou identificar a estrutura de socialização de uma subcultura urbana através da análise de indicadores estruturais de rede social e a identificação de sub-agrupações. Utilizou-se o instrumento Arizona Social Support Interview Schedule com 11 membros da subcultura roqueiros. Os dados foram processados mediante a análise de redes sociais com o software Ucinet para detectar conjuntos de atores com o procedimento de conglomerados hierárquicos, e os gráficos da rede foram criados com NetDraw. Identificaramse níveis moderados de indicadores estruturais e as agrupações presentaram um número amplo de atores segundo o critério de atração por similaridade. Os subgrupos na rede foram escassos, o que mostra a subcultura como uma unidade social cuja integração ocorre por vinculações próximas entre seus membros.