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1

Funkcjonowanie muzyki rozrywkowej w pierwszym i trzecim obiegu w polskiej kulturze muzycznej lat 80.

100%

Wyżga A.

Kwartalnik Młodych Muzykologów UJ

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2014

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issue 3(22)

4-21

EN

Rock is a kind of popular music, which is destined to the young and is played by the young, and intended for mass media publishing. It's a characteristic phenomenon for youth culture of the second half of 20th century. With the help of developing new technology, rock gained global popularity also in Poland, especially in 1980's, which is called the ‘boom of Polish rock music’. That unexpected growth of rock popularity was caused by cultural, social and economic factors. A very special role was played by the circulations of culture. In Poland of 1980's, we had three circulations: the first one (official culture), the second one (political opposition) and the third one (alternative culture). Famous rock bands, which composed in the West, earned a lot of money by promoting their singles, playing concerts and selling albums, so they could not only live comfortably, but also record better albums in good studios, with the best instruments. In Poland, the bands which played in Polish People's Republic didn't have such an opportunity – their popularity depended on the government, and the salaries were given according to the results of the exam of theoretical knowledge and general musical skills. The media tried to break the monopoly of the government (e.g. Program 3 of Polish Radio or ‘Non Stop’ magazine). The third circulation, equated especially with punk culture, developed in underground and on independent stages. It was characterized by raising issues which were ‘banned’ in the official culture. It was manifested in the message of the words of songs, but also in magazines created by fans or musicians (fanzin). A very interesting phenomenon were also music festivals, which, despite the political situation, gave a lot of freedom to musicians and the audience. This publication is a compilation of information collected by other researchers and also an extract of the BA thesis of the author of this text.

2

Alternative culture in a socialist city : Punkers and long-haired people in Prague in the 1980s

75%

Pixová M.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2013

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vol. 100

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issue 3

319-338

EN

Cities in socialist Czechoslovakia were meant to constitute the setting for an ideal socialist society. The dogmatic embracement of this objective by the ruling Communist Party eventuated in complete intolerance towards any manifestation of free-thinking of alleged opposition to socialism. Starting in the 1960s, part od Czechoslovak youth were inspired by the Western countercultural hippie movement and the Beat generation, as well as by punk subculture beginning in the 1970s. These people openly displayed their alienation from the official cultury by disrupting the established societal standards of appearance, behaviour, and leisure activities.

3

Vnitrozemí a pohraničí českého literárního samizdatu : Úvaha nejen pojmoslovná

63%

Přibáň M.

Česká literatura (Czech Literature)

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2016

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vol. 64

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issue 6

822-847

EN

This study comprises two chapters. The first deals with the issue of specialist terminology used in connection with alternative literary culture between 1948 and 1989. The introduction of the term samizdat was preceded by numerous discussions recorded primarily in 1980s typescript periodicals, which the author of this study describes and interprets. The second indicates the boundary of the term samizdat used in research into Communist-period independent literature in its broader conception. It deals with the issues surrounding relations between the author’s manuscript and its samizdat publication, the boundaries between samizdat and semi-legal printed documents in what was known as the grey zone, production technology, the readership range of samizdat literature and the like. The conclusion proposes a conceptual and objective typology of the ways in which samizdat literature publication was organized in the 1970s and 1980s.

CS

Studie sestává ze dvou kapitol. První se zabývá problematikou odborné terminologie, užívané v souvislosti s alternativní literární kulturou let 1948-1989. Zavedení pojmu "samizdat" předcházely četné diskuse, zaznamenané především na stránkách strojopisných periodik 80. let, které autor studie stručně popisuje a interpretuje. V druhé části autor naznačuje hranice uplatnění pojmu samizdat v rámci výzkumu šířeji chápané nezávislé literatury komunistického období. Zabývá se otázkami vztahu mezi autorským rukopisem a jeho samizdatovým vydáním, otázkami hranic mezi samizdatem a pololegálními tisky tzv. šedé zóny, otázkami technologie výroby, problematikou čtenářského dosahu samizdatové literatury apod. V závěru pak navrhuje pojmovou i věcnou typologii organizace vydávání samizdatové literatury v 70. a 80. letech.

4

Underground na severní Moravě v letech 1970-1989

63%

Haberland L.

Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

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2021

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vol. 29

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issue 1

49-93

EN

This paper discusses the phenomenon of the North Moravian underground in years 1970–1989. It focuses primarily on the “other” culture, alternative culture, parallel culture, in which music bands were considered as “defective” bands and people with long hair or people involved in unofficial art were considered as “defective” youth. During my research I encountered a different meaning of the term “underground” in Northern Moravia, to the meaning associated with the term in Prague, where the society was more politicised.

5

MŁODZIEŻOWA KULTURA HIP-HOP JAKO TEKST WIELOKULTUROWY

63%

Sawicki K.

Ars inter Culturas

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2013

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issue 2

95-104

EN

This article analyzes hiphop as a multicultural manifestation of the youth culture. The youth culture is understood as the content offered for the young generation by the popular culture. It is perceived as the result of complex processes that start with local youth groups, cultural innovations and various rituals. The author describes the beginning of hiphop culture in the urban ethnic dimension and goes on to analyze its core manifestations such as rap, graffiti, and break dance. The author traces ways in which rap, graffiti and break dance were created, interpreted, and assimilated according to the needs of multicultural exemplification of youth’s local identities. This article also indicates the possibility of using elements of hiphop youth culture in the prevention projects realized in multicultural environments.

6

Punk and Oi! Rebellion? Music and commodification of the youth subcultures in Czechoslovakia at the turn of the 1980-90s

45%

Michela M.

Hudební věda (Musicology)

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2022

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vol. 59

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issue 2-3

315-347

EN

The paper aims to convey why there was an increased interest in punk music and related genres that became part of the mainstream in 1990, and the specifics of such popularity, by studying the transformation of the perception of punk music and related genres in the historical and social perspective. The paper elaborates on the theory that the boundaries between alternative creation and mainstream were more fluid at the turn of the 1980s and 1990s. For a short time, punk moved from the very edge to the centre of the music industry and become the focus of interest by mainstream media. The paper also brings forth some arguments why it was only a short phase. It points to the place of workers’ pub anti-aesthetics as an important cultural figure influencing the socialization of the generation of the “Husak’s Children”. What were the expert reflections of this music production, for example, in the form of music reviews released by official publishing houses? What role did the generational and class identifications of individual artists, music publicists, and fans play in the reception of punk? The research is based primarily on the analysis of official and unofficial music journalism, but also on interviews with the people involved.

CS

Cílem předkládaného textu je na základě studia proměn vnímání punkové hudby a příbuzných žánrů v historicko-společenské perspektivě interpretovat, proč v roce 1990 došlo k nárůstu zájmu o punkovou hudbu a příbuzné žánry, které se staly součástí hlavního mainstreamu, resp. jaká specifika měla tato popularita. Studie vychází z hypotézy, že na přelomu osmdesátých a devadesátých let 20. století byly hranice mezi alternativní tvorbou a mainstreamem pohyblivější. Punk se tak na krátkou dobu dostal ze samého okraje do centra zájmu hudebního průmyslu a mainstreamových médií. Studie také předkládá argumenty, proč se jednalo pouze o krátkou fázi. Poukazuje na místo dělnicko- hospodské anti-estetiky jako důležité kulturní figury ovlivňující socializaci generace tzv. husákových dětí. Jaké byly odborné reflexe této hudební produkce, např. v podobě hudebních recenzí nahrávek vydaných v oficiálních vydavatelstvích? Jakou roli hrála v recepci punku generační a třídní identifikace jednotlivých interpretů, hudebních publicistů a fanoušků? Výzkum je založen především na analýze oficiální a neoficiální hudební publicistiky, ale také na rozhovorech s aktéry.

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1 Ars inter Culturas

1 Hudební věda (Musicology)

1 Kwartalnik Młodych Muzykologów UJ

1 Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

1 Česká literatura (Czech Literature)

1 Český lid: etnologický časopis (Český lid: Ethnological journal)

1 Haberland L.

1 Michela M.

1 Pixová M.

1 Přibáň M.

1 Sawicki K.

1 Wyżga A.

1 2022

1 2021

1 2016