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Artículos de revistas sobre el tema "Counterculture"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Garbutt, Rob. "Creating Space for Protest and Possibility". Contention 7, n.º 1 (1 de julio de 2019): 66–80. http://dx.doi.org/10.3167/cont.2019.070106.

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This article brings together the ideas of protest and counterculture in a productive engagement. If protest is understood as publicly bearing witness in opposition to something, then countercultures often do this as rejections of dominant cultures that are folded into everyday life in order to create spaces for possible futures. The countercultural experiments undertaken in the region around Nimbin, Australia, are an example of such space creation. Using interviews, presentations, and archival materials collected at a 2013 community conference marking the 40th anniversary of the 1973 Nimbin Aquarius Festival, I will explore these experiments in the context of countercultural protest. The Festival not only gathered together people under the banner of the counterculture, but provided a unique space for gathering around common matters of concern to create an ongoing countercultural community. This community continues to develop practical knowledge regarding sustainable living and innovations in grassroots environmental protest.

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2

Rathna, Donar. "Art and Counterculture: Shaping Identity Through Expression and Engagement". Art and Society 2, n.º 4 (agosto de 2023): 40–48. http://dx.doi.org/10.56397/as.2023.08.06.

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This paper explores the dynamic relationship between artistic expression and counterculture, shedding light on how artworks shape, reflect, and convey identities within alternative and nonconformist cultures. Countercultural movements challenge prevailing norms, seeking to establish alternative value systems, and artistic expression becomes a powerful medium through which these identities are both constructed and communicated. Through a historical overview, case studies, and analysis of media representation, the paper examines the intricate interplay between counterculture and art. It also delves into the challenges posed by cultural appropriation, the assimilation of countercultural symbols, and the ongoing struggle to balance authenticity and acceptance. Ultimately, this study seeks to provide a comprehensive understanding of how art serves as a dynamic force in defining and shaping countercultural identities within the context of mainstream society.

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3

Шафраньош, O. І. "Approaches to the study of the phenomenon of counterculture: the attempt of typology". Grani 22, n.º 3 (10 de mayo de 2019): 52–61. http://dx.doi.org/10.15421/171932.

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In the article the author analyzes the directions of studying the phenomenon of counterculture in Western science. An attempt is also made to typologize these scientific approaches. The term is first encountered in the work of Talcott Parsons «Social System» in 1951. The term is used in the context of a discussion on the ideology of subculture movements and deviant groups. His term sounds like «counter-culture». In a somewhat modified writing, with an expanded description of the term, it is used by American sociologist J. Milton Jinger in 1960. His term «contraculture» in English first encountered in 1960. The term gained its scientific and public popularity in 1969 after Theodore Roszak`s publication “The Making of a Counter Culture”. He used this term to describe countercultural, subcultural movements in the United States of the 1960s, including the hippies, the «New Left». The term also was related to their critical program, as well as to characterizing an alternative society, whose creation was propagated, and partly carried out by the representatives of the movements of the sixties. This approach characterizes counterculture in a narrow sense. In the broad sense, it does not connected to a concrete time period and defines a set of ideas, values, world outlook, which oppose the official basic culture. After investigating the views of scholars on counterculture, since the 1970s the author identifies three different directions, divided by the criterion of relation to counterculture. Among them are apologetic, critical and balanced approaches. To the apologetic approach belongs the work of researchers, which is characterized by a clearly positive attitude to counterculture, social and political aspects of its activities. Often there are some critical remarks but they do not change the general picture of the author’s commitment to the phenomenon. Critical approach include researchers who consider counterculture as a negative social phenomenon and practice. The most radical representatives include Daniel Bell, Joseph Heath and Andrew Potter and others. Balanced approach combines the work of many researchers, which combines efforts to investigate counterculture as an objective phenomenon, while taking into account its weaknesses and strengths. At the same time, the authors recognize the importance of existence of the phenomenon, its influence on socio-cultural and political processes. Criticism relates to radical cultural practices, political extremism and excessive interest in psychedelics among representatives of counterculture. The approaches of researchers to this direction vary, from the «pioneer» of research of the phenomenon J. Milton Jinger, and to the researchers who tried to conduct research directly inside of the countercultural movement, in particular Kenneth Keniston, and others.

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4

Petrash, Nikolay D. y Elena V. Petrash. "Assessment of the Influence of Counterculture Symbols and Images on the Formation of Individual Identity". Общество: философия, история, культура, n.º 7 (24 de julio de 2024): 91–97. http://dx.doi.org/10.24158/fik.2024.7.11.

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This article examines the process of forming individual identity in the context of interaction with countercultural symbols and images. The focus is on the idea that individual identity can develop in various social conditions, including both positive and negative scenarios of influence. Particular attention is paid to the role of initiation processes, including in the criminal counterculture, and their stages: pre-liminal, liminal, and post-liminal. The article analyzes how initiation rites and associated practices contribute to the emergence of new personal quali-ties and the formation of a new individual identity. It integrates insights from theoretical frameworks, including I.V. Vipulis’ concepts on the vital and thanatal aspects of initiation, alongside empirical findings from modern sociological data and insights from criminal procedural legislation in the Russian Federation. Additionally, theo-retical contributions by K.Y. Dekan and V.S. Ishchenko regarding counterculture as a catalyst for social devel-opment are considered. The relevance of the article is due to the need to understand the mechanisms of influ-ence of countercultural elements on personal development in the conditions of the modern social context.

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5

Kuligowski, Waldemar. "Anthropology as a Counterculture. Against the Mainstream (from the 1960s until Today)". Anthropos 116, n.º 2 (2021): 429–38. http://dx.doi.org/10.5771/0257-9774-2021-2-429.

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This article is an attempt to ascertain the relationship between anthropology and counterculture. However, I am interested not so much in artistic affiliations (though, certainly, extremely interesting), but rather in strategies of activity and a specific shared “spirit” of resistance. My assumption is that anthropology has been a critical discipline from its beginnings, transgressing the cultural, social, political, and even moral mainstream. A dialogical, collaborative, advocational, and activist attitude are all hallmarks of an anthropological counterculture. In this context I focus on three unusual events: the American Indian Chicago Conference organized by Sol Tax in 1961, the “teach-in” concept “invented” by Marshall Sahlins in 1965, and the Special Convention of Polish Ethnologists and Anthropologists that took place in 2016. What could be the consequences of such countercultural attitudes for anthropology?

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6

Fichter, Madigan. "Rock ‘n’ roll nation: counterculture and dissent in Romania, 1965-1975". Nationalities Papers 39, n.º 4 (julio de 2011): 567–85. http://dx.doi.org/10.1080/00905992.2011.585146.

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A vibrant countercultural and dissident movement developed in Romania between 1965 and 1975. Young Romanians combined elements of the global youth movement with local cultural and political practices. Thus, Romanian counterculture and dissent shared the era's hippie aesthetic and anti-authoritarianism, but was highly isolationist, vehemently antisocialist and heavily couched in the language of the nation and nationalism. Furthermore, during this early Ceauşescu period, the socialist regime attracted some level of nonconformist support through a program of reform, opposition to Soviet interference, and nationalist rhetoric. These conclusions demonstrate that the rubric of 1960s counterculture needs to be extended to include a variety of ideological and cultural positions beyond the New Left that scholars generally emphasize. Furthermore, scholarly avoidance of Ceauşescu's early period has obscured the existence of an alternative culture, and has led to an un-nuanced interpretation of Romania's postwar history.

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7

FLAY, CATHERINE. "After the Counterculture: American Capitalism, Power, and Opposition in Thomas Pynchon's Mason & Dixon". Journal of American Studies 51, n.º 3 (12 de diciembre de 2016): 779–804. http://dx.doi.org/10.1017/s0021875816001961.

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Although Thomas Pynchon has continued to publish long after the postwar American countercultural era, his politics are critically characterized in relation to that movement's values. The dominant critical positions associate power with rationalism and functionality, and political opposition with creativity and pleasure, positioning Pynchon's novels at a politicized intersection between postmodernism and the counterculture. This article problematizes this dominant critical position, taking Mason & Dixon (1997) as exemplary of Pynchon's reconsideration of the nature of power and potential opposition to it in response to the countercultural movement's failures and successes, and to developments in capitalist social organization in the 1980s.

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8

Murphy, Timothy S. "I Play for You Who Refuse to Understand Me". Journal of Popular Music Studies 30, n.º 4 (diciembre de 2018): 143–60. http://dx.doi.org/10.1525/jpms.2018.300410.

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In Italy, the counterculture of the Sixties lasted until 1979, when it perished in the clash between two paranoias: the Italian state’s fear of terrorism and the radical social movements from which it arose, and the terrorists’ fear of the state’s authoritarianism. Popular musicians were trapped between these paranoias, and their music searches to escape from both while chronicling the closing of the space between them, the only space in which countercultural social and artistic experimentation could take place. This essay focuses on the Italian “international POPular group” Area, which acted, in opposition to the generalized paranoia of the period, as a switching station linking progressive rock, electronic music, free jazz, global indigenous music, Fluxus sound experiments and postmodernist poetics with anti-militarist, anti-racist, socialist-feminist politics independent of the existing political party system. To create those links, the band was compelled to subvert the conventions of pop music from within and to move beyond pop’s traditional boundaries into unstructured improvisation and avant-garde formal exploration. Area singer Demetrio Stratos’s death in 1979 coincided with the Italian state’s final crackdown on terrorism and the counterculture and marked the end of the richest countercultural experiment on earth, which still has much to teach us.

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9

Cunha, Daniel. "Climate Science as Counterculture". Liinc em Revista 18, n.º 1 (13 de mayo de 2022): e5928. http://dx.doi.org/10.18617/liinc.v18i1.5928.

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This article investigates climate science as a cultural object. By pursuing the “logic of its aporias”, it is shown that climate science emerged at the confluence of the objective development of the means of production (constituting a “planetary general intellect”) and the countercultural movement of the 60s, which put ecology at its center, but was broader than mere “environmentalism”. This resulted in the emergence of new forms of sensibility and a qualitative transformation of the natural sciences, which recognized the autonomy and complexity of nature. The constitution of climate science is reconstructed by taking the IGBP’s Amsterdam Declaration as historical archive, and by discussing biographical aspects of representative scientists, in mediation with their work and their world-historical context. Yet, the limits of climate science are those of counterculture. Climate science and its institutions preserve aspects of the previous mechanistic science as well as remaining traces of commodity fetishism

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10

Williams, Lee Burdette. "Campus Counterculture". NASPA Journal 32, n.º 1 (1 de octubre de 1994): 46–54. http://dx.doi.org/10.1080/00220973.1994.11072378.

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11

Cohen, Judith Beth y Patricia Henley. "Counterculture Characters". Women's Review of Books 10, n.º 10/11 (julio de 1993): 30. http://dx.doi.org/10.2307/4021546.

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12

Bennett, Andy. "Reappraising « Counterculture »". Volume !, n.º 9 : 1 (15 de septiembre de 2012): 20–31. http://dx.doi.org/10.4000/volume.3499.

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13

Oksana, ZAKHAROVA. "DIPLOMATIC COUNTERCULTURE". Humanities science current issues 1, n.º 57 (2022): 118–24. http://dx.doi.org/10.24919/2308-4863/57-1-15.

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14

Karpov, Denis L. "THE HERO OF THE NOVEL BY I. MALYSHEV “NOMAKH” AND THE YEGOR LETOV’S POETICS". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 3 (2021): 92–101. http://dx.doi.org/10.28995/2686-7249-2021-3-92-101.

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Contemporary literature is being formed in a difficult situation of polyphony of the modern consumer culture. Mainstream discourses are mixed with subcultural ones, the authors are influenced not only by the literary tradition itself, but also, for example, by rock culture. Thus, the countercultural, subcultural experience, which until recently was considered as peripheral, is actively being introduced into the socio-cultural discourse of modern Russia through the assimilation by authors claiming a place in the center of the country’s literary life. The novel by I. Malyshev “Nomakh” may be considered as an example of such influence. It became a finalist of the literary prize contest “Big Book” in 2017. The novel is clearly influenced by countercultural ideology, in particular by E. Letov, one of the most popular and reputable representatives of the West Siberian counterculture. At the same time, there are no direct references or quotations from the poetry of the Omsk musician in the novel. Rather, one can see some stylistic likenesses, similar figurative complexes. The reception of a historical character from the civil war era is based on the learned principles of poetics and Letov’s worldview. In addition, adopting the intellectual experience of the counterculture, I. Malyshev’s novel not only relays a certain ideology, but also, with the help of artistic means, recreates or completes the images of its hero, historical character, and cultural heroes, which he focuses on.

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15

Wallenius, Todd. "American Counterculture Ideals Expressed through the Music of the 1960s". Prithvi Academic Journal 1, n.º 1 (31 de mayo de 2018): 79–87. http://dx.doi.org/10.3126/paj.v1i1.25902.

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The 1960s era was one of the most divisive, turbulent periods in American history. In many ways, the decade was defined by the Counterculture Movement and by those who resisted the demands of a conformist society rooted in Cold War values. This historical study first contextualizes the emergence of the Counterculture Movement of the 1960s within the historical period of mid-century America. Next, the paper provides an analysis of the values of the Counterculture Movement expressed through music. Exploration of counterculture songs reveals that participants advocated the rejection of society through the expression of personal freedom, immediate gratification, anti-materialism, community, and free love. Furthermore, inquiry demonstrates that music was used as a vehicle to explain and promote the movement’s ideals. Ultimately, the study demonstrates the ways in which music of the Counterculture Movement reflected Americans’ broader questions of, and challenges to, the Cold War culture in the late- 1960s.

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16

FREER, JOANNA. "Thomas Pynchon and the Black Panther Party: Revolutionary Suicide in Gravity's Rainbow". Journal of American Studies 47, n.º 1 (4 de julio de 2012): 171–88. http://dx.doi.org/10.1017/s0021875812000758.

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This article pertains to the recent upsurge of interest in the politics of Thomas Pynchon. It considers Pynchon as an author very much of the 1960s counterculture, and explores the countercultural values and ideals expressed in Gravity's Rainbow, with particular emphasis on revealing the novel's attitude to the Black Panther Party. Close textual analysis suggests Pynchon's essential respect for Huey P. Newton's concept of revolutionary suicide, and his contempt for Marxist dialectical materialism, two core elements of Panther political theory. Drawing on an analogy between the BPP and Pynchon's Schwarzkommando, an assessment is made of the novel's perspective on the part played by various factors – including the Panthers’ aggressive militancy, the rise of Eldridge Cleaver through the leadership, and the subtle influence of a logic of power influenced by scientific rationalism – in bringing about the disintegration of the Panther organization by the early 1970s. Given the similarities between the paths taken by the BPP and the wider counterculture in the late 1960s, the article considers Pynchon's commentary on the Panthers to be part of a cautionary tale for future revolutionaries fighting similar forms of oppression.

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17

TAYLOR, J. D. "THE PARTY'S OVER? THE ANGRY BRIGADE, THE COUNTERCULTURE, AND THE BRITISH NEW LEFT, 1967–1972". Historical Journal 58, n.º 3 (24 de julio de 2015): 877–900. http://dx.doi.org/10.1017/s0018246x14000612.

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ABSTRACTThis article analyses the emergence of politically motivated acts of left-wing terrorism in Britain between 1967 and 1972. Through the case of the ‘Angry Brigade’, an ill-defined grouping which claimed responsibility for a number of attacks against property between 1970 and 1971, it analyses how protest and political violence emerged from discourses and events in the British New Left, the anti-war protest movements, the counterculture, and the underground press. Against common interpretations of ’68 as a watershed of naïve hopes that waned into inaction, this article identifies a consistency of political activity that developed beyond traditional party and class politics towards a more internationally aware and diverse network of struggles for civil equality. Among the shared political and cultural commitments of the counterculture, campaigns around squatting, women's liberation, or the necessity of ‘armed propaganda’ each became possible and at times overlapped. It analyses the group's development, actions, communications, as well as surrounding media discourses, subsequent police investigation, and the criminal trials of ten individuals for their involvement in the Angry Brigade. The article reappraises their overlooked historical significance among the wider countercultural militancy and discourses of political violence of the late 1960s to early 1970s.

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18

Berman, R. A. "Counterculture and Consumerism". Telos 1987, n.º 74 (1 de enero de 1987): 167–72. http://dx.doi.org/10.3817/1287074167.

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19

Frood, Arran. "Drug-fuelled counterculture". Nature 455, n.º 7215 (octubre de 2008): 870. http://dx.doi.org/10.1038/455870a.

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Levy-Lyons, A. "The Religious Counterculture". Tikkun 27, n.º 2 (1 de abril de 2012): 45–68. http://dx.doi.org/10.1215/08879982-2012-2017.

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21

Steiner, Linda. "Reporting the Counterculture". American Journalism 7, n.º 4 (octubre de 1990): 283–84. http://dx.doi.org/10.1080/08821127.1990.10731312.

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22

Iheanacho, I. "The new counterculture". BMJ 337, sep05 1 (5 de septiembre de 2008): a1576. http://dx.doi.org/10.1136/bmj.a1576.

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23

Hollander, Paul. "Explaining the Counterculture". Academic Questions 31, n.º 1 (17 de enero de 2018): 23–32. http://dx.doi.org/10.1007/s12129-017-9681-1.

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24

Farber, David. "Building the counterculture, creating right livelihoods: the counterculture at work". Sixties 6, n.º 1 (junio de 2013): 1–24. http://dx.doi.org/10.1080/17541328.2013.778706.

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25

RODRÍGUEZ-SOLÁS, DAVID. "Occupying Las Ramblas: Ocaña's Political Performances in Spain's Democratic Transition". Theatre Research International 43, n.º 1 (marzo de 2018): 83–98. http://dx.doi.org/10.1017/s030788331800007x.

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This article demonstrates that José Pérez Ocaña's political performances open up the possibility of questioning the narrative of the transition to democracy in Spain as one resulting from political consensus. Using sources available in documentaries and in the archives of the counterculture, the essay studies Ocaña as a political subject of the transition. Among his public acts, the essay considers his street performances, his sexually explicit performance in the Canet Rock music festival and in International Anarchist Days in 1977, and his problematic participation in gay pride parades in Barcelona. In his public appearances, Ocaña eroded the distinction between public and private while asserting his right to appear. Despite his prominence in countercultural realms, gay activists and anarchist organizations rejected him. I argue that Ocaña opted to disidentify with all labels as he confronted both gender norms and the countercultural public sphere.

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26

Janzen, Rebecca. "El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s". Studies in Spanish & Latin-American Cinemas 18, n.º 2 (1 de junio de 2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.

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This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same director. This article expands on the recognized relationship between this film and the director’s oeuvre. It demonstrates that the problematic portrayal of relationships between the protagonists and Indigenous and female characters relates to its historical context and other films from the time period. In particular, it shows that these interactions correspond with some of the ways that the Mexican state and the countercultural movement adopted paternalistic views of Indigenous people and replicated patriarchal relationships between men and women.

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27

Fortmann, Michel y Martin Larose. "An Emerging Strategic Counterculture?" International Journal: Canada's Journal of Global Policy Analysis 59, n.º 3 (septiembre de 2004): 537–56. http://dx.doi.org/10.1177/002070200405900305.

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Konkina, Gulbarshin Spanovna, S. S. Kasimova y K. V. Ushakova. "COUNTERCULTURE: CAUSES AND CONSEQUENCES". Theoretical & Applied Science 31, n.º 11 (30 de noviembre de 2015): 87–91. http://dx.doi.org/10.15863/tas.2015.11.31.15.

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Lesney, Mark S. "Knowledges: Culture counterculture subculture". American Journal of Human Biology 11, n.º 3 (1999): 416–17. http://dx.doi.org/10.1002/(sici)1520-6300(1999)11:3<416::aid-ajhb16>3.0.co;2-r.

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Moskovich, Yaffa y Adi Binhas. "NGOs helping migrants: an Israeli case study of counterculture". International Journal of Sociology and Social Policy 35, n.º 9/10 (8 de septiembre de 2015): 635–48. http://dx.doi.org/10.1108/ijssp-11-2014-0109.

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Purpose – The purpose of this paper is to study the NGOs in the immigration field as a counterculture working simultaneously with and against the establishment. Design/methodology/approach – Case study approach using interviews and documents analysis. Findings – This paper studies the cultural features of three civil associations, interested in promoting social welfare for immigrants. These NGOs challenge the Israeli government when it violates human rights. This conflict takes place in the courts, the Knesset (parliament), governmental agencies, the media, and sometimes in the streets. The three NGOs use a variety of political strategies: both collaborating with governmental agencies, while simultaneously fighting against the government authorities. The cultural features of the immigrant NGOs are primarily left-wing, with socialist principles. The organizational culture of this association can be identified as a counterculture, opposing the dominant Israeli right-wing capitalist culture. Practical implications – This research can demonstrate how NGOs can use tactics to achieve a high level of success for the underprivileged population. Originality/value – This case study is unusual in that it suggests the NGOs are a sophisticated counterculture, with activists knowing how to operate concurrently with and against official authorities. The duality of the political cultural behavior of the NGOs’ social movement is a notable phenomenon of counterculture in the political arena and expands the definition of counterculture.

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Andrade Guevara, Víctor Manuel. "El 68 global: Revolución y contracultura". Clivajes. Revista de Ciencias Sociales, n.º 10 (3 de diciembre de 2018): 1–20. http://dx.doi.org/10.25009/clivajes-rcs.v0i10.2549.

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Este artículo emprende un balance sobre el impacto del movimiento global de 1968 en la configuración del capitalismo contemporáneo, así como en el campo de las ciencias sociales. A diferencia de quienes sostienen que el movimiento cívico-estudiantil y la contracultura que le acompañó no tuvieron un impacto significativo en el ámbito político, aquí se afirma que la contracultura y los breves, pero intensos, momentos de experimentación de otras formas de participación política y de convivencia, junto con los valores contraculturales que le acompañaron, tuvieron una repercusión política, más allá de los modos de participación posibles en la democracia representativa. Palabras clave: Movimiento estudiantil, Revolución, Contracultura The global ‘68’: Revolution and countercultureSummaryThis article undertakes an assessment of the impact of the global movement of 1968 on the configuration of contemporary capitalism, as well as in the field of social sciences. Unlike those who argue that the civic-student movement and the counterculture that accompanied it did not have a significant impact in the political sphere, here it is affirmed that the counterculture and the brief, but intense, moments of experimentation of other forms of political participation and of coexistence, along with the countercultural values that accompanied it, had a political repercussion, beyond the possible participation modes in representative democracy.Keywords: Student Movement, Revolution, Counterculture Le 68 global: Révolution et contrecultureRésuméCet article entreprend une balance de l’impact du mouvement global du 68 dans la configuration du capitalisme contemporain ainsi que dans le champ des sciences sociales. À différence de ceux qui soutiennent que le mouvement civique-étudiant et la contreculture qui l’a accompagnée n’ont pas eu d’impact significatif dans l’ambiance politique, ici, on affirme que la contreculture et les brefs mais intenses moments d’expérimentation, d’autres formes de participation politique et de coexistence avec les valeurs contra-culturelles qui l’ont accompagnées, ont eu une répercussion politique au-delà des formes de participation possibles dans la démocratie représentative.Mots clés: Mouvement étudiant, Révolution, Contreculture.

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Tarasov, Aleksei Nikolaevich. "The origins of postmodernism as a sociocultural transformation: counterculture of the 1960s – early 1970s". Философская мысль, n.º 2 (febrero de 2021): 53–62. http://dx.doi.org/10.25136/2409-8728.2021.2.32871.

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This article reviews postmodernism as a transitional stage in the dynamics of modern culture in the countries of Euro-Atlantic civilization. Such transitional stages the author defines as sociocultural transformations. Postmodernism is the finale of the current stage of sociocultural transformation, which according to the author started in the last third XIX century with the avant-garde culture. The article traces the impact of counterculture of the 1960s – early 1970s upon establishment of the postmodern paradigm. It is demonstrated that counterculture manifested as the sociocultural background that promoted the consolidation of postmodernism in culture of the countries of Euro-Atlantic civilization. The logic of studying sociocultural transformations suggests the application of interdisciplinary approach. The key research method is the philosophical interpretation. The main conclusion consists in proving the hypothesis on the background, sociocultural impact of counterculture of the 1960s – early 1970s upon the consolidation of postmodernism as the sociocultural transformation. The author offers an original approach towards periodization of the European (Euro-Atlantic) culture, which distinguishes the corresponding periods in its continuum through the prism of sociocultural transformations. A detailed analysis of the impact of counterculture upon postmodern statement is provided.

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33

Stiefel, Barry. "When marginal counterculture becomes acceptedmainstream: Preservation and counterculture(s)heritage of the past". Counterculture Studies 2, n.º 1 (2019): 1–19. http://dx.doi.org/10.14453/ccs.v2i1.11.

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Ramos-Carranza, Amadeo y Rosa María Añón-Abajas. "CONTRACULTURA, ACCIONES Y ARQUITECTURA". Proyecto, Progreso, Arquitectura, n.º 18 (2018): 12–15. http://dx.doi.org/10.12795/ppa.2018.i18.11.

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Para la arquitectura, la década de los sesenta y siguientes queda como el momento de grandes acontecimientos que la intención de cambiar los paradigmas sociales, políticos, económicos e ideológicos dominantes en sociedades industrializadas y desarrolladas. Movimientos y corrientes contraculturales que se añadieron al extenso y complejo panorama ideológico que Charles Jencks representó en su gráfico en el año 1971. Aquellos caminos marginales, con el paso del tiempo, el cambio de milenio y la consolidación de una arquitectura global, han dejado de expresar acciones o pensamientos colectivos, siendo sustituidos por nombres propios de arquitectos o de las principales empresas productoras de la arquitectura. El texto de este artículo reflexiona críticamente sobre esta cuestión y aprovecha la capacidad de determinadas ideas que sugieren investigaciones actuales, para proponer un entramado cultural que transitaría al margen de las arquitecturas representativas del pensamiento global.

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35

Harris, Mark. "Thomas Crow, The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (2023)". Aesthetic Investigations 6, n.º 2 (31 de diciembre de 2023): 221–26. http://dx.doi.org/10.58519/aesthinv.v6i2.18527.

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Thomas Crow’s book The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge reappraises West Coast art as enmeshed in the counterculture. The first five of its twelve chapters discuss Bruce Conner’s development as a multimedia artist in San Franscisco and Los Angeles producing assemblages, films, drawings, magazine illustrations, and light shows for rock concerts. The next five chapters expand Crow’s argument by appraising anti-war manifestations, Black and Latino protest work, Land Art, and West Coast conceptual practices as aspects of the counterculture. Moving forward to the late 1970s, the final two chapters review first Conner’s reemergence as a photographer documenting California punk bands and then Mike Kelley’s transplanting of Detroit’s alternative rock idealism to fuel the development of his own radical art practices.

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36

Gebauer, Matthias y Shadia Husseini de Araújo. "Islamic Shores Along the Black Atlantic". Journal of Muslims in Europe 5, n.º 1 (28 de mayo de 2016): 11–37. http://dx.doi.org/10.1163/22117954-12341317.

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Within the conceptual discussions of ‘Muslim diaspora’, the intersection between cultural blackness and Islam has received little attention. Yet its investigation is necessary to understand the increasing conversion to Islam among people who associate themselves with cultural blackness. In this context, Islam seems to offer new means for resistance and liberation, and contributes to transnational countercultures directed against racism and socio-economic marginalisation in post-colonial societies. Using Gilroy’s ideas of ‘the Black Atlantic’ and ‘diaspora’, we aim to develop an analytical framework to understand processes of black Muslim identity formation. The empirical foundation is provided by two case studies in Brazil and South Africa that focus on social groups who reproduce specific ideas of transnational ‘Muslim blackness’. A comparison of these allows us to offer an analytical framework for research on a ‘blackandMuslim diaspora’ as a transnational counterculture.

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Bolaki, Stella y Christopher Gair. "Disability and the American Counterculture". Journal of Literary & Cultural Disability Studies 9, n.º 2 (julio de 2015): 125–34. http://dx.doi.org/10.3828/jlcds.2015.11.

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Turner, Fred. "The Corporation and the Counterculture". Velvet Light Trap 73 (marzo de 2014): 66–78. http://dx.doi.org/10.7560/vlt7306.

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39

Rudnick, Lois, Rick Beard y Leslie Cohen Berlowitz. "Greenwich Village: Culture and Counterculture." Journal of American History 81, n.º 2 (septiembre de 1994): 737. http://dx.doi.org/10.2307/2081313.

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40

Flanagan, Joseph. "The Jesuit University as Counterculture". Method 10, n.º 2 (1992): 127–45. http://dx.doi.org/10.5840/method19921023.

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41

Meilicke, Christine A. "Abulafianism Among the Counterculture Kabbalists". Jewish Studies Quarterly 9, n.º 1 (2002): 71. http://dx.doi.org/10.1628/0944570022720954.

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Versluis, A. "The "Counterculture," Gnosis, and Modernity". Telos 2010, n.º 152 (1 de septiembre de 2010): 31–43. http://dx.doi.org/10.3817/0910152031.

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Ziarek, Ewa Płonowska. "Introduction: Fanon's Counterculture of Modernity". Parallax 8, n.º 2 (abril de 2002): 1–9. http://dx.doi.org/10.1080/13534640210130386.

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44

Warren, Michael. "Culture, Counterculture and the Word". Liturgy 6, n.º 1 (enero de 1986): 84–93. http://dx.doi.org/10.1080/04580638609409052.

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Marcó del Pont, Xavier. "Thomas Pynchon and American Counterculture". Textual Practice 32, n.º 1 (26 de noviembre de 2017): 188–90. http://dx.doi.org/10.1080/0950236x.2017.1405629.

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46

Arvidsson, Adam. "From Counterculture to Consumer Culture". Journal of Consumer Culture 1, n.º 1 (marzo de 2001): 47–71. http://dx.doi.org/10.1177/146954050100100104.

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Kassow, Samuel D. "Bundist Counterculture in Interwar Poland". East European Jewish Affairs 40, n.º 2 (agosto de 2010): 173–76. http://dx.doi.org/10.1080/13501674.2010.494353.

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M. Moist, Kevin. "Introduction — Global Psychedelia and Counterculture". Rock Music Studies 5, n.º 3 (2 de septiembre de 2018): 197–204. http://dx.doi.org/10.1080/19401159.2018.1544355.

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Hollander, Paul. "The counterculture of the heart". Society 41, n.º 2 (enero de 2004): 69–77. http://dx.doi.org/10.1007/bf02712709.

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Stiefel, Barry. "When marginal counterculture becomes accepted mainstream: Preservation and counterculture(s) heritage of the past". Counterculture Studies 2, n.º 1 (1 de agosto de 2019): 1–19. http://dx.doi.org/10.14453/ccs.v2.i1.11.

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