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<p>Dear All,<br>
(Apologies for cross-posting)<br>
I would like to draw your attention to the attached CfP <br>
(also copy-pasted below).<br>
Regards,<br>
Sabina Mihelj<br>
<br>
POPULAR CULTURE AND SOCIALISM(S)<br>
Call for proposals for contributions to an edited <br>
collection<br>
<br>
Since the Berlin Wall came down in 1989 and the socialist <br>
regimes of Eastern Europe passed into history, at least <br>
two major developments have taken place in the realm of <br>
Cold War studies, and more broadly in our understanding of <br>
20th century history. One was spurred by the opening <br>
archives in the former Eastern block, which greatly <br>
increased the opportunities for international and <br>
comparative research on the Cold War, and gave rise to <br>
important reinterpretations of key historical events and <br>
processes in this period. The other major development <br>
involves a growing acknowledgment of the role of culture <br>
in the clash between communism and capitalism. Its <br>
proponents argue that mainstream approaches have perceived <br>
the Cold War primarily, and often exclusively, as a <br>
military, political and economic conflict, and missed the <br>
importance of factors such as religion, sports, education, <br>
literature, film, radio, television and consumerism.<br>
<br>
Over the past two decades, historians, sociologists, art <br>
critics, anthropologists and media scholars have <br>
contributed to a veritable outpouring of publications <br>
exploring the complex relationships between political <br>
agendas, economic policies and cultural practices. <br>
Initially, most studies of Cold War culture have focused <br>
on the United States (e.g. Whitfield 1991, Wagnleitner <br>
1994, Saunders 1999, Schwartz 2000), and to a smaller <br>
extent on Western Europe (e.g. Duggan and Wagstaff 1995, <br>
Nelson 1997, Scott-Smith and Krabbendam 2003). More <br>
recently, some scholars have began capitalizing on the <br>
increased accessibility of primary sources from former <br>
socialist states (e.g. Reid and Crowley 2000, Crewe 2003), <br>
and developed thought-provoking accounts of the cultural <br>
Cold War spanning both the West and the East (e.g. <br>
Buck-Morss 2000, Poiger 2000, Caute 2003, Mitter and Major <br>
2004).<br>
<br>
This growing body of work has not only broadened the <br>
geographical scope of the debate about the cultural Cold <br>
War, but also raised a number of wider conceptual and <br>
methodological issues. To start with, it questioned the <br>
value of understanding the socialist period as a <br>
‘deviation’ from the supposedly normal course of <br>
historical development, as well as challenged the <br>
usefulness of treating the Cold War as a distinct <br>
historical period. Instead, it highlighted the <br>
continuities between post-1945 cultural histories and <br>
long-term historical trends, including the rise of <br>
modernity, popular sovereignty and mass production. <br>
Furthermore, this body of literature also highlighted some <br>
of the structural similarities between the developments in <br>
the East and the West, and thereby questioned the rigid <br>
and often highly value-laden East-West distinction. Last <br>
but not least, this literature also opened the venue for a <br>
more nuanced understanding of post-socialist <br>
transformation, and for a critical engagement with the <br>
‘transitological’ accounts of the collapse of socialist <br>
regimes. It is becoming increasingly clear that the <br>
processes of transformation in post-socialist Eastern <br>
Europe are far from uniform, and instead differ depending <br>
on the particularities of both pre- and post-World War II <br>
trajectories of individual countries (Pickels and Smith <br>
1998, Stark and Bruszt 1998). Depending on these <br>
trajectories, the post-socialist societies are equipped <br>
with specific forms of economic, social as well as <br>
cultural capital which all influence their reaction to, or <br>
appropriation of, the liberal capitalist modus operandi <br>
(Blokker 2005).<br>
<br>
The proposed edited collection seeks to further the debate <br>
on these issues by focussing on the history of popular <br>
culture in socialist Eastern Europe, as well as its <br>
legacies in the post-socialist period. We would welcome <br>
contributions addressing one or more of the following <br>
issues:<br>
1. POLITICS, IDEOLOGY AND POPULAR CULTURE: What were the <br>
key ideological attitudes of the political establishment <br>
and the socialist intelligentsia towards ‘popular’ or <br>
‘mass’ culture? How have they changed over time, and how <br>
did they differ from country to country? To what extent <br>
did these attitudes differ from those held by the <br>
political and cultural elites in the West? How have they <br>
shaped the cultural and media policies in socialist <br>
countries?<br>
2. POPULAR CULTURE AND LEGITIMACY: To what extent did the <br>
socialist regimes accommodate the increasing demand for <br>
popular culture and consumer products among the <br>
population, and to what extent can this be seen as a <br>
(successful) attempt at addressing the lack of popular <br>
legitimacy? Or, in other words: were popular culture and <br>
consumerism always inherently subversive, or were they <br>
also used as a tool of internal legitimation and <br>
consolidation of socialist regimes?<br>
3. NEGOTIATION, APPROPRIATION, AND RESISTANCE: How did <br>
either the producers or the consumers of popular culture <br>
adapt to the limits imposed by socialist cultural <br>
policies? How ‘popular’ were the popular culture products <br>
sanctioned and promoted by the socialist regimes? What <br>
practices of adaptation, negotiation or resistance can be <br>
discerned (e.g. cynicism/kynism, irony, dialogic farce <br>
etc.), and how influential were they in undermining the of <br>
legitimacy socialist regimes?<br>
4. CROSS-BORDER EXCHANGE: What were the major routes of <br>
cross-border exchange of popular culture, both among the <br>
socialist states themselves and across the Cold War divide <br>
(e.g. transnational film and music distribution, <br>
co-operation between national broadcasting organizations, <br>
adaptation of foreign genres, formats and practices of <br>
cultural production etc.)? How did these exchanges <br>
contribute to the diversity and similarity of cultural <br>
production across different socialist states as well as <br>
across the Cold War divide?<br>
5. WESTERN THEORIES AND SOCIALIST POPULAR CULTURE: How <br>
useful are the concepts and theories of popular culture <br>
developed in the West – particularly those coming from the <br>
field of cultural studies – in understanding socialist <br>
popular culture? What alternative theories and concepts <br>
can we think of that can better elucidate the role of <br>
popular culture in socialist states?<br>
6. SOCIALIST POPULAR CULTURE, HISTORICAL CONTINUITIES, AND <br>
POSTSOCIALIST DEVELOPMENTS: To what extent were the <br>
different attitudes and responses to popular culture in <br>
socialist Eastern Europe rooted in pre-World War II <br>
cultural preferences and practices? What is the legacy of <br>
socialist popular culture today, and how does it figure in <br>
various nostalgic recollections of the period (Ostalgie, <br>
Yugonostalgia etc.)? To what extent did the post-communist <br>
societies inherit the ‘structures of feeling’ (Williams <br>
1961) established through the socialist popular culture?<br>
<br>
Ideally, we would like all contributions to be both <br>
empirically grounded and theoretically informed. Please <br>
send your proposals (800-1000 words) with a brief <br>
Curriculum Vitae (1 x A4) to Reana Senjkovic <br>
(<a href="mailto:reana%40ief.hr">reana@ief.hr</a>) and Sabina Mihelj (<a href="mailto:S.Mihelj%40lboro.ac.uk">S.Mihelj@lboro.<wbr>ac.uk</a>) by <br>
October 31, 2008. We will inform you about our decision by <br>
December 15, and if your proposal is accepted, we will <br>
expect a first draft by the end of May 2009, and a final <br>
manuscript by the end of September 2009.<br>
<br>
We are currently in the process of securing funding for a <br>
small workshop that will allow us to discuss the first <br>
drafts and the possible ways of weaving them together into <br>
a coherent book. The workshop will be organized in <br>
Budapest, Hungary, in June 2009. Further details will <br>
follow after the submission of abstracts.<br>
<br>
REANA SENJKOVIC, Institut of Ethnology and Folklore <br>
Research, Subiceva 42, 10000 Zagreb, Croatia<br>
Website: <a href="http://www.ief.hr/page.php?id=285&lang=en">http://www.ief.<wbr>hr/page.php?<wbr>id=285&lang=<wbr>en</a><br>
<br>
SABINA MIHELJ, Department of Social Sciences, Loughborough <br>
University, Loughborough LE11 3TU, UK<br>
Website: <br>
<a href="http://www.lboro.ac.uk/departments/ss/staff/mihelj.html">http://www.lboro.<wbr>ac.uk/department<wbr>s/ss/staff/<wbr>mihelj.html</a><br>
<br>
<br>
REFERENCES:<br>
Blokker, Paul. 2005. "Post-Communist Modernization, <br>
Transition Studies, and Diversity in Europe", European <br>
Journal of Social Theory 8(4): 503-525.<br>
Buck Morss, Susan. 2000. Dreamworld and Catastrophe. the <br>
Passing of Mass Utopia in the East and West. Cambridge and <br>
London: MIT Press.<br>
Burawoy, Michel and Katherine Verdery (eds). 1999. <br>
Uncertain Transition. Ethnographies of Change in the <br>
Postsocialist World, Oxford: Rowman & Littlefield.<br>
Caute, David. 2003. The Dancer Defects: The Struggle for <br>
Cultural Supremacy during the Cold War. Oxford and New <br>
York: Oxford University Press.<br>
Crewe, David (ed.). 2003. Consuming Germany in the Cold <br>
War, Oxford: Berg.<br>
Duggan, Christopher and Christopher Wagstaff (eds.). 1995. <br>
Italy in the Cold War: Politics, Culture and Society, <br>
1948-58. Oxford: Berg.<br>
Mitter, Rana and Patrick Major (eds.). 2004. Across the <br>
Blocs: Cold War Cultural and Social History. London: Frank <br>
Cass.<br>
Nelson, Michael. 1997. War of the Black Heavens: The <br>
Battles of Western Broadcasting in the Cold War. Syracuse, <br>
NY: Syracuse University Press.<br>
Pickles, John and Adrian Smith. 1998. Theorising <br>
Transition: The political Economy of Post-Communist <br>
Transformations. London: Routledge.<br>
Poiger, Uta G.. 2000. Jazz, Rock, and Rebels: Cold War <br>
Politics and American Culture in a Divided Germany. <br>
Berkeley, Los Angeles and London: University of California <br>
Press.<br>
Reid, Susan E. and David Crowley (eds.). 2000. Style and <br>
Socialism: Modernity and Material Culture in Post-War <br>
Eastern Europe. Oxford and New York: Berg.<br>
Saunders, Frances Stonor. 1999. Who Paid the Piper? The <br>
CIA and the Cultural Cold War. London: Granta.<br>
Schwartz, Rixhard A.. 2000. Cold War Culture: Media dn the <br>
Arts, 1945-1990. New York: Checkmark Books.<br>
Scott-Smith, Giles and Hans Krabbendam (eds.). 2003. The <br>
Cultural Cold War in Western Europe, 1945–1960. London: <br>
Frank Cass.<br>
Stark, David and Laszlo Bruszt. 1998. Postsocialist <br>
Pathways: Transforming Politics and Property in East <br>
Central Europe. Cambridge: Cambridge University Press.<br>
Wagnleitner, Reinhold. 1994. Coca-Colonization and the <br>
Cold War: The Cultural Mission of the United States in <br>
Austria after the Second World War. London: University of <br>
North Carolina Press.<br>
Whitfield, Stephen J.. 1991. The Culture of the Cold War. <br>
Baltimore: Johns Hopkins University Press.<br>
Williams Raymond. 1961. The Long Revolution ("Analysis of <br>
Culture"), London: Chatto & Windus.<br>
<br>
<br>
--<br>
<br>
Dr. Sabina Mihelj<br>
Lecturer in Media, Communication and Culture<br>
Department of Social Sciences<br>
Loughborough University<br>
LE 11 3TU Loughborough<br>
UK<br>
Website: <br>
<a href="http://www.lboro.ac.uk/departments/ss/staff/mihelj.html">http://www.lboro.<wbr>ac.uk/department<wbr>s/ss/staff/<wbr>mihelj.html</a><br>
<br>
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#ygrp-mlmsg pre, code {font:115% monospace;*font-size:100%;}
#ygrp-mlmsg * {line-height:1.22em;}
#ygrp-text{
font-family: Georgia;
}
#ygrp-text p{
margin: 0 0 1em 0;
}
#ygrp-tpmsgs{
font-family: Arial;
clear: both;
}
#ygrp-vitnav{
padding-top: 10px;
font-family: Verdana;
font-size: 77%;
margin: 0;
}
#ygrp-vitnav a{
padding: 0 1px;
}
#ygrp-actbar{
clear: both;
margin: 25px 0;
white-space:nowrap;
color: #666;
text-align: right;
}
#ygrp-actbar .left{
float: left;
white-space:nowrap;
}
.bld{font-weight:bold;}
#ygrp-grft{
font-family: Verdana;
font-size: 77%;
padding: 15px 0;
}
#ygrp-ft{
font-family: verdana;
font-size: 77%;
border-top: 1px solid #666;
padding: 5px 0;
}
#ygrp-mlmsg #logo{
padding-bottom: 10px;
}
#ygrp-reco {
margin-bottom: 20px;
padding: 0px;
}
#ygrp-reco #reco-head {
font-weight: bold;
color: #ff7900;
}
#reco-grpname{
font-weight: bold;
margin-top: 10px;
}
#reco-category{
font-size: 77%;
}
#reco-desc{
font-size: 77%;
}
#ygrp-vital{
background-color: #e0ecee;
margin-bottom: 20px;
padding: 2px 0 8px 8px;
}
#ygrp-vital #vithd{
font-size: 77%;
font-family: Verdana;
font-weight: bold;
color: #333;
text-transform: uppercase;
}
#ygrp-vital ul{
padding: 0;
margin: 2px 0;
}
#ygrp-vital ul li{
list-style-type: none;
clear: both;
border: 1px solid #e0ecee;
}
#ygrp-vital ul li .ct{
font-weight: bold;
color: #ff7900;
float: right;
width: 2em;
text-align:right;
padding-right: .5em;
}
#ygrp-vital ul li .cat{
font-weight: bold;
}
#ygrp-vital a{
text-decoration: none;
}
#ygrp-vital a:hover{
text-decoration: underline;
}
#ygrp-sponsor #hd{
color: #999;
font-size: 77%;
}
#ygrp-sponsor #ov{
padding: 6px 13px;
background-color: #e0ecee;
margin-bottom: 20px;
}
#ygrp-sponsor #ov ul{
padding: 0 0 0 8px;
margin: 0;
}
#ygrp-sponsor #ov li{
list-style-type: square;
padding: 6px 0;
font-size: 77%;
}
#ygrp-sponsor #ov li a{
text-decoration: none;
font-size: 130%;
}
#ygrp-sponsor #nc{
background-color: #eee;
margin-bottom: 20px;
padding: 0 8px;
}
#ygrp-sponsor .ad{
padding: 8px 0;
}
#ygrp-sponsor .ad #hd1{
font-family: Arial;
font-weight: bold;
color: #628c2a;
font-size: 100%;
line-height: 122%;
}
#ygrp-sponsor .ad a{
text-decoration: none;
}
#ygrp-sponsor .ad a:hover{
text-decoration: underline;
}
#ygrp-sponsor .ad p{
margin: 0;
}
o{font-size: 0; }
.MsoNormal{
margin: 0 0 0 0;
}
#ygrp-text tt{
font-size: 120%;
}
blockquote{margin: 0 0 0 4px;}
.replbq{margin:4}
-->
</style>
</head>
<!--~-|**|PrettyHtmlEnd|**|-~-->
</html><!--End group email -->