Sixties

The female terrorist circulates within contemporary Western culture as an object of fascination and heightened concern. Gender and the Political analyses cultural constructions of the female terrorist, arguing that she operates as a limit case of both feminine and feminist agency. Drawing on an interdisciplinary theoretical framework, this book demonstrates that the development of the discourse on terrorism evolves in parallel with, and in response to, radical feminism in the US in the late 1960s and early 1970s. Situated at the borderlines between sexuality, threat and abjection, Amanda Third argues that the figure of the female terrorist compels a reexamination of the project of radical politics and the limits of modernity.

http://www.palgrave.com/page/detail/gender-and-the-political-amanda-third/?K=9781137402752

"A fascinating exploration of the historical twinning of terrorism and feminism in the U.S. By redirecting our attention to these important discourses emerging in the 60's and 70s, this book provides a crucial corrective to counter post 9/11 anxieties that continually project the terrorist as somehow coming from elsewhere." - Jasbir K. Puar, Associate Professor of Women's and Gender Studies, Rutgers University, USA

"Amanda Third's Gender and the Political convincingly argues that the modern concepts of terrorism and feminism are historically and conceptually interwoven. The book does this by reading terrorism studies against the grain while simultaneously positioning the concept of terrorism as a central trope of postmodern thought. These two discourses - the former increasingly foundational to, the latter highly critical of, the modern state and social order - are placed in fruitful conversation with one another, resulting in a deeply illuminating study of the contemporary political terrain in the United States." - Mehmet Döşemeci, Assistant Professor of History, Bucknell University, USA

In this chapter I want to look at the counterculture of the 1960s, primarily at the American phenomenon, with specific reference to political, social and cultural questions. I am conscious that these are not so easily distinguished—that, in fact, for many involved in the movement, it was a project precisely to blur or merge these categories. I hope to illustrate and interrogate some of those connections and tensions. More widely, of course, the 1960s were a time of contestation, activism, experimentation, energy, and I set the context for this. A good deal has been written about that mythicised and hyperbolic decade (if decade is was it was) and I—with my own attitudinal subcultural baggage of having been a 1970s punk—am wary of myself contributing to its pervasive nostalgising. George Lipsitz has written that ‘the enduring hold of the 1960s on the imagination of the present has been pernicious’, while Andy Bennett, following Lawrence Grossberg, writes of ‘how 1960s nostalgia airbrushes out of youth cultural history the strident political statements of punk rockers and rap artists’ (both quoted in Bennett 2004, 51). At the same time, though, a danger of not adequately historicising the period is that we end up being careless with our own radical cultural history—post-1960s, for instance—history which, as I have pointed out elsewhere, ‘is not even always that old’. While Peter Stansill and David Zane Mairowitz may be correct in their description of events ‘between 1965 and 1970 [are] clearly not a “Movement”, although full of interior motion’, it is not the case that ‘[a]ll that remains is the ephemera’ (1971, 13). Much of my own work over the years has been concerned with the social possibilities and political limitations of what might be perceived of as radical culture—in music, ways of living, youth and other social movements, protest campaigns, for instance. Such phenomena are always present, usually as more than simply utopian traces, residual strands or apparently ephemeral artefacts. What Michael Heale has called ‘the decade’s schizoid reputation’ seems markedly persistent (Heale 2001, 8).

Published chapter also contains a number of colour and monochrome images.

Großstrukturen sind die vielleicht markantesten Innovationen der Architektur der 1960er und 70er Jahre. Bauwerke wurden größer als das, was man gemeinhin noch als Haus bezeichnen würde – eher schon als ein Stück Stadt. Die Großbauten waren das architektonische Resultat des modernen technischen Fortschrittsglaubens. Unterschiedliche Konzepte wurden zur Bewältigung der Größe entwickelt, von der Großform über das Bausystem bis hin zur Megastruktur. Herausragende (bundes)deutsche Beispiele sind etwa das ICC Berlin, die Ruhr-Universität Bochum, die Metastadt Wulfen oder das Uniklinikum Aachen. Doch geriet nicht nur der utopische Gehalt der Ideen bald wieder in Vergessenheit, auch die gebauten Großstrukturen entwickelten sich vielfach nicht so, wie von den Erbauern erwartet. Bereits im Verlauf der achtziger Jahre begann eine Zeit des Niedergangs. Die Wahrnehmung der Größe hatte sich ins Negative gekehrt. Dennoch ist es zu kurz gegriffen, Großstrukturen pauschal zu einer Sackgasse der Geschichte zu erklären. Dass einige der hier diskutierten Objekte inzwischen auch formal als Denkmale ausgewiesen sind, erscheint aus architekturhistorischer Sicht gerechtfertigt, erübrigt aber nicht die Frage, wie das Baudenkmal konserviert werden soll. Es zeigt sich, dass die Bewertung und Weiterentwicklung von Großstrukturen klassische Verfahrensweisen der Denkmalpflege auf die Probe stellt.

This article examines the role of Jimi Hendrix in the late 1960s as a vessel of the Black Atlantic, what Paul Gilroy describes as the counterculture to modernity. Placed against the backdrop of The Dick Cavett Show, a newly created talk show in 1969 hosted by the white liberal Dick Cavett, this article explores the dialogue between host and guitarist in an attempt to trace the longue durée assumptions and ideological patterns of modernity and its late 1960s repercussions at the end of the American Civil Rights movement. Using the theories of Gilroy, James Baldwin, Raymond Williams, and Jacques Attali, I outline how the two visits of Hendrix on The Dick Cavett Show were analogous to larger patterns coursing through American society as popular institutions such as television and film formed important bulwarks against not only the countercultural ideas of the 1960s, but the more radical sets of ideas that increasingly took aim at the institutional nature of US racial capitalism and modernity itself. While The Dick Cavett Show embodied the assimilation of aspects of cultural radicalism, the show also offered lessons on how institutions such as television used cultural radicalism as both a point of sale and a reflective other in rehabilitating the frayed edges of American truth-constructing processes. As a guest, Hendrix often provided answers to Cavett’s questions which frequently opened doors to implicitly anti-systemic – or anti-modern – discussions. As a host, Cavett’s reactions can be read as parrying these blows, using comedy and his persona as a Midwestern straight white man as the blunting instrument.

Este libro es un riguroso y documentado estudio del desarrollo de las tendencias abstracto geométricas en España entre 1957-1969. La década de los sesenta marcó la recuperación de la geometría a escala mundial, con la generalización del arte óptico y cinético, del minimal, etc. Este despegue se produjo, igualmente en España, donde, a partir de 1957, a la par del auge del informalismo, comenzó a surgir una nueva generación de artistas decidida a experimentar con la geometría y a apostar por la razón y el análisis. Menos conocidas y reconocidas que el informalismo, las tendencias abstracto-geométricas son una parte fundamental del legado artístico de los años sesenta. En la presente obra dichas tendencias, hasta ahora muy descuidadas por la historiografía artística, son analizadas a partir de diferentes ejes temáticos que incluyen los procesos histórico-artísticos, la fortuna crítica y el debate estético en la época y el análisis plástico. La autora reconstruye y analiza los diferentes movimientos geométricos existentes en España, como el arte normativo, el arte concreto, el arte cinético y óptico, etc. Sacando a la luz artistas, movimientos y documentos de la época la autora consigue mostrar una nueva fisonomía del devenir de las artes españolas en los sesenta.

O texto aborda as obras de Roland Barthes e Pierre Bourdieu dedicadas à moda, em especial, aquelas que tratam do universo simbólico do consumo, dos discursos construídos em torno do tema e das lutas concorrenciais travadas no âmbito da alta-costura nas décadas de 1950-60.

With the advent of psychedelic rock the medium of choice of musicians is not strictly sonic anymore; musicians of the Sixties begin to show a vibrant vocation towards a wider, more complex and ductile interaction with art forms and the very concept of Art. In this brief era visual artists become interested in rock music, they start to produce art inspired by music and, viceversa, musicians become more and more involved in the visual aspect of their work. The mid and late Sixties then represent a period of seminal renaissance for Album Cover Art and Poster Art: LP covers strive to translate the message of the music they wrap in visual terms. Conversely, psychedelic rock tries to put the amazing visions triggered by psychedelic drugs into music. Focusing on posters, album covers and the innovative experimentations of light shows, this article brings to light an often unsung, but definitely essential, trait of psychedelic culture: its holistic and synesthetic disposition - a sort of mission: to bring art forms back together, to put Art in everyday life and in the lives of everyone. Psychedelic rock and psychedelic visual arts then become ideal platforms for an innovated and innovative language that does not indulge with art’s artificial categorizations, but embraces the synergetic possibilities of all its different forms.

This article explores the symbolic appeal of Che Guevara within radical Left circles of the 1960s and 1970s. Che’s importance as a shared political reference offers a unique window on aspirational symbols and the desire for meaningful transnational solidarity. By tracing Che’s resonance in Latin America, western Europe, the United States, and the Middle East, the article brings into conversation the study of post-war radicalism, political iconography, and the cognitive dimensions of interconnectivity. As a means of understanding Che’s appeal to both protest movements and guerrilla organizations, the article develops the notion of a ‘transnational imagination’, or mode of perception that frames local circumstances in a world historical trajectory and thereby affects collective aspirations and actions.

In this article I reconstruct the history of Mafalda, the famous comic strip by the Argentine cartoonist Quino that was read, discussed, and viewed as an emblematic representation of Argentina’s middle class. With the aim of contributing to discussions on the interpretation of the middle class in Argentina and Latin America, I examine the emergence, circulation, and sociopolitical significance of the comic from its first strips in 1964 until Quino stopped producing new installments in 1973, making use of two conceptual and methodological approaches: a perspective situated at the intersection of the everyday and the political, as well as a consideration of humor as a way of exploring social identities. I argue first that Mafalda’s ironic and conceptual humor worked with the contradictions of the middle class as it faced social modernization, cultural and political radicalization, and a weakening democracy. Second, I suggest that the strip contributed to a representation of a heterogeneous middle class marked by ideological differences but nonetheless conceived as one. Third, I claim that such a representation lost its relevance with the political polarization and violence of the 1970s, as portraying a middle class—or a society—united despite differences was no longer feasible in that context. To illustrate this, the article closes by noting that, shortly after Mafalda was discontinued, state terrorism would brutally demonstrate just how little space there was in Argentina for the young, antiestablishment generation depicted in the strip.

Sara Cohen issued a challenge to popular music scholars, asserting that the ethnography of local amateur bands could be as theoretically fruitful as studying celebrities. This article suggests a third angle and related challenge, problematizing the inclusion of testimonies by musicians who play an important role in the collaborative constellation around celebrities, but are placed decidedly in the margins of dominant narratives of popular music history. George Harrison’s sitar studies led to his creating a new hybridic musico-spiritual sound that was heard on Beatles’ albums, infusing the sixties’ psychedelic soundscape with ‘raga-rock’. According to my interviews with Shambhu Das, Ravi Shankar’s disciple appointed initially to assist Harrison with sitar fingerings, Das played a much more significant role than previous historical accounts have admitted. This raises important questions about the theoretical approach and methodological application of a polyvocal texture where contradictions and ambiguities are revealed that challenge heretofore unquestioned narratives.

Un vento di protesta sta scuotendo il mondo intero. È un vento che soffia da lontano, ma in questi ultimi tempi si è fatto impetuoso. Le elezioni presidenziali in Iran nel 2009, i moti di rivolta in Tunisia, Egitto, Siria, per tutto il Medio Oriente; l’occupazione simbolica di Wall Street; il “15 de M” spagnolo, con la Plaza de Sol gremita di dimostranti; i sollevamenti contro il TAV Torino-Lione in Italia, le lotte degli operai e quelle dei disoccupati; il sommovimento politico contro governi vecchi e inefficienti. Pare che a un certo punto della storia il mondo si sia acceso, e continui a pulsare con luce intermittente sin da allora: fuochi di protesta divampano, si diffondono, divorano regimi, governi, leggi; alcuni si propagano da una parte all’altra del globo attraverso la nuova scintilla di Internet, altri si sopiscono ed estinguono.
Lo studioso può, come ogni altro, entusiasmarsi di fronte a tanta energia umana, a tanto desiderio di rinnovamento, allo spettacolo del motore della storia che sembra come per incanto prendere abbrivio e non arrestarsi più; lo studioso può appassionarsi a tutto questo e forse deve. Però lo studioso deve, innanzitutto, capire e aiutare a capire. Perché la protesta si scatena in certe circostanze e non in altre? Cosa muove gli individui, i gruppi, i popoli a sognare uno stato di cose differente, ad accorgersi dell’inadeguatezza delle proprie esistenze, a produrre linguaggio e azione per cambiarne i connotati? Che cosa fa scattare in alcuni la molla della protesta, e cosa spinge invece gli altri a tacere, a sopportare, ad accettare? E poi come si costruiscono i modi della protesta, secondo quali leggi, quali regolarità, quali innovazioni?
Comprendere i modi attraverso cui individui e gruppi attualmente costruiscono i testi della protesta e come tali testi si volgano in testimonianza sociale più o meno efficace pare un compito imprescindibile per una semiotica che si voglia sempre più al centro della società contemporanea e delle pressanti richieste di conoscenza che da essa promanano.

The article concerns the form of experience offered by the British progressive rock of the late 1960s and early 1970s in the light of the tendency to view the genre through the prism of modernism. The materiality of key musical albums within the genre—through elaborate aesthetic construction and reliance on literary ideas—played an indispensable role in interacting with the records. I argue that through constructing a narrative message in the form of record covers, progressive rock could be treated as a literary form which functions according to what Nicholas Royle describes as veering and which allows to avoid problems associated with considering the genre as modern or postmodern.

ITALIAN Il movimento del Sessantotto in una realtà territoriale che, pur essendo periferica rispetto ai centri del movimento, registrò uno sviluppo della consapevolezza politica e dei movimenti sociali.

ENGLISH The protest of 1968 in an area that, although being peripheral, compared to the centres of the movement, experienced a development of political awareness and social movements.

An analysis of the Star Wars films as a narrative frame for the conflict between parents and children in the Vietnam War Era, and more broadly, as an extension of the longstanding blended space narrative of the United States as Ancient Rome, with the danger of the Republic turning into an empire.

In the late 1950s Italy went through a fundamental transition in terms of its social, cultural, and economic identity. After experiencing a period of unprecedented industrial growth, the country found itself having to come to terms with a form of modernity that had perhaps come too quickly. It had to deal with the disintegration of a society that had moved from the countryside to the cities, shifting from family-based communities to individuals with increasingly evident consumerist desires and needs. Artists experienced the same feelings and contradictions, attracted to the possibilities offered by this new world while also being intimidated by its consequences.

This article examines a turning point in the relationship between the black communities in Britain and the British labour movement, focusing upon the role of the Communist Party of Great Britain (CPGB) in this relationship. While 1968 saw a great wave of industrial militancy and cultural radicalism, during which the CPGB was quite influential, this upsurge in radical activist politics did not translate into major gains in the struggle against racism in Britain. 1968 saw the tightening of immigration controls and a Labour government intent on the ‘integration’ of black immigrants, coupled with an increase in racist agitation on the right by Enoch Powell and the fledgling National Front, which caused problems for Britain's black population. The CPGB, one of the largest leftist parties and with a history of anti-colonial and anti-fascist activism, had the potential to be an important agent in the anti-racist movement in the late 1960s, but any appeal to black workers was subsumed by the wider industrial struggles of the period—a phenomenon that was replicated throughout the British labour movement. The inability of the trade unions and the British left to effectively address the grievances of black workers led to autonomous black political organisation, inspired by the ideas of black power and the Marxism of the national liberation struggles. This division between the (primarily white) labour movement and black workers was widened by the events of 1968 and would further consolidate throughout the 1970s. The purpose of this article is to portray how the schism between the traditional organisations of the British working class and the black communities developed, significantly demonstrated by the failure of the heightened radicalism of 1968 to produce tangible benefits for black Britons, and how the potential of the CPGB to undertake an important anti-racist role was diminished by its focus on militant labourism.

Αρκετά συχνά ακούμε ή διαβάζουμε για την εκδοτική άνοιξη της μεταπολίτευσης. Παρόλα αυτά συνήθως πρόκειται για μια απλή αναφορά ως έκφραση παρά για μια εμβάθυνση ή έστω περιγραφή της εκδοτικής δραστηριότητας της μεταπολίτευσης.
Σκοπός της ανακοίνωσης αποτελεί η σκιαγράφηση της κίνησης των ιδεών κατά τη διάρκεια της μεταπολίτευσης, να ανιχνεύσει τις συνέχειες και τις ασυνέχειες που είχε αυτή τόσο σε σχέση με την περίοδο της δικτατορίας όσο και με την προδικτατορική εκδοτική δραστηριότητα (κατά την δεκαετία του 1960).

Η ιδιότυπη σχέση μεταξύ βιβλίου και αριστεράς που ξεκινάει από τον μεσοπόλεμο, γίνεται «καθεστώς» από το 1950 και μετά είναι τουλάχιστον εμφανής κατά την μεταπολίτευση. Αριστεροί τυπογράφοι, βιβλιοπώλες, εκδότες και αναγνώστες αλλά και μη-αριστεροί οι οποίοι κατά τη μεταπολίτευση για εμπορικούς λόγους επιλέγουν την έκδοση τίτλων για ένα αριστερό ακροατήριο δημιουργούν ένα κατά πολύ ανεξερεύνητο σύμπαν.

Η σύμπλευση και η σύζευξη ιδεολογικοπολιτικού και εμπορικού, ο ερασιτεχνισμός και η απουσία συγκροτημένων εκδοτικών επαγγελμάτων (επαγγελματίες μεταφραστές, επιμελητές, κτλ), οι μικρές, φτηνές (και πρόχειρες) εκδόσεις είναι μερικά από τα χαρακτηριστικά του εκδοτικού πεδίου κατά την περίοδο αυτή.

During  the  60s  Spain  experienced  an extraordinary  economic  development  that, along  with  tourism,  produced  profound
changes  in  the  Spanish  society,  helping  the evolution of mentalities. At the same time, the arrival  of  pop  music  and  the  adoption  of foreign  models  will  contribute  to  the modernization  of the  Spanish youth and the spread of a new image of the “modern girl”. If the  traditional  role  of  women  in  Francoist
Spain was that of  wife, mother and housewife, whereas  the  husband  was  the  head  of household,  throughout  the  decade
manifestations critizising the subordination of women to men will be increasing. The aim of this  article  is  to  present  the  change  of woman’s  image  and  the  expression  of  the feminine  emancipation  desire  through popular  music,  songs  and  movies  of  those years.

Nevada Historical Society Quarterly 44.1 (2001): 331-61. In the spring of 1970, the University of Nevada, Reno (UNR), faced volatile weeks of unrest and protest unlike anything witnessed before, and nothing else quite like it has happened on the campus in the thirty years after. The week after United States troops invaded Cambodia, and one day following the tragic
killing of students at Kent State University, several hundred students, staff, and faculty marched in protest of the continued US involvement in Indochina. At the annual campus  "Governor's Day" event, May 5, 1970, they disrupted a ceremony attended by the governor, visiting military officials, and local citizens who were there to recognize ROTC troops. It was a peaceful protest against a senseless war and against the administration's callous disregard for the students
shot by the National Guard in Ohio. In the weeks that followed the protest, Nevada's citizens came down hard on the campus, threatening officials with economic and political sanctions, and demanding retribution for such unAmerican activity. In the end most Nevadans were satisfied that they collectively had kept things under control, tracing the root of this activity to two men
who participated, and punishing just one of them for the actions of more than four hundred people. They accepted erroneous media representations, reacted with repressive measures, and lost sight of the interventions that opened dialogueand kept the peace on campus.

Knižná výtvarná kultúra sa začiatkom 60. rokov zdokonalila z dôvodu skvalitnenia tlačiarenských technológií ako aj zásluhou vstupu novej generácie ilustrátorov/ilustrátoriek či grafikov/grafičiek. Zlepšenie vydavateľských možností súviselo aj s čiastočnou liberalizáciou politicko-spoločenských pomerov v Československu. Posun je badateľný už koncom 50. rokov, keď bruselský štýl vniesol formotvorné prvky do vizuálnej podoby prebalov, obálok aj grafického riešenia knihy. Dobové podmienky mali vplyv na uvoľnenejšie podanie a experimentálne prístupy v knižnej tvorbe. Výtvarným princípom, ktorý sa (znovu)objavuje  v 60. rokoch je princíp koláže, fotomontáže ako aj prepájania grafických a ilustračno-kresebných motívov. Kniha sa tak posúva smerom k výtvarne vyváženému objektu, kde nie je dôležitý iba samotný text, ale aj jeho prezentácia a výtvarno-grafický sprievod.

De la fin du XIX e siècle à la Seconde Guerre mondiale, la question des inégalités corporelles dans les compétitions sportives était pensée en termes d'« aristocratie ». Le champion l'était essentiellement parce que bénéficiant d'un privilège de naissance. Après la Seconde Guerre mondiale, la problématisation de cette question des inégalités corporelles se modifie. Le paradigme du « mérite » se met progressivement en place, postulant que la réussite sportive est en premier lieu la conséquence du travail et de l'effort, et non plus simplement d'un avantage biologique inné. Dans cette mutation du regard posé sur le sport, les années soixante jouent un rôle clé. Le pouvoir gaulliste tente en effet de construire une société méritocratique sur les débris de l'Occupation et de la IV e République.

In this paper, I plan to present an analysis of alternative media, alternative student media and how they contrast to “mainstream” media, both student and professional. I discuss the roots and role of journalism in general and, utilizing @west news, attempt to draw a distinction between the roles of advocacy and standard objectivity in news reporting.

Co-organised by Alana Harris and Wannes Dupont. In anticipation of the 50​ th anniversary of Pope Paul VI's promulgation of the encyclical ​ Humanae Vitae (1968), which sought to prohibit the use of contraception by practising Catholics through deeming it 'intrinsically dishonest', this colloquium seeks to bring together world­leading historians of gender, sexuality and modern Catholicism to discuss the differing reactions to and reception of the encyclical by Catholic laity and clergy across Europe. Situating the Vatican's highly controversial intervention in sexual ethics within the larger trajectory of debates about 'birth control' and the role of sex within marriage emerging since the Second World War, and as a little explored analogue to the social and sexual upheavals of the 1960s counter­cultural movements, the workshop will make an essential contribution to a growing historiography exploring 'around '68' by illuminating the gendered, material and metaphysical grounds for heated opposition and reinterpretation of the Vatican ruling. The format of the colloquium will be highly discussion­orientated, based on the pre­circulation of papers and very short presentations (with a designated respondent) at the gathering. This is to ensure that there is ample time for in­depth consideration of commonalities and contrasting factors in the 'reception' of ​ HV and the identification of constructive theoretical and methodological perspectives. Well­advanced conversations are underway for the subsequent publication of selected contributors' papers within an edited volume to be published by ​ Palgrave Macmillan ​. Research questions and scholarly objectives of the focused, comparative and interdisciplinary discussions include: