DOCSLIB.ORG

Volume !, 9 : 1 | 2012, « Contre-Cultures N°1 » [En Ligne], Mis En Ligne Le 15 Juin 2014, Consulté Le 10 Décembre 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume !, 9 : 1 | 2012, « Contre-Cultures N°1 » [En Ligne], Mis En Ligne Le 15 Juin 2014, Consulté Le 10 Décembre 2020 Volume ! La revue des musiques populaires 9 : 1 | 2012 Contre-cultures n°1 Théorie & Scènes Countercultures: Theory & Scenes Sheila Whiteley (dir.) Édition électronique URL : http://journals.openedition.org/volume/2932 DOI : 10.4000/volume.2932 ISSN : 1950-568X Édition imprimée Date de publication : 15 septembre 2012 ISBN : 978-2-913169-32-6 ISSN : 1634-5495 Référence électronique Sheila Whiteley (dir.), Volume !, 9 : 1 | 2012, « Contre-cultures n°1 » [En ligne], mis en ligne le 15 juin 2014, consulté le 10 décembre 2020. URL : http://journals.openedition.org/volume/2932 ; DOI : https://doi.org/10.4000/volume.2932 Ce document a été généré automatiquement le 10 décembre 2020. L'auteur & les Éd. Mélanie Seteun 1 À l’occasion de ce premier numéro de Volume ! dédié aux contre-cultures, nous abordons des questions de définition, avec l’article inaugural d’Andy Bennett, puis théoriques, avec ceux de Ryan Moore sur le rapport entre les musiques de la contre- culture et la modernité, puis de Simon Warner, qui examine l’esthétique "trash" d’Andy Warhol. La seconde partie se plonge dans les scènes contre-culturelles en Italie, avec l’article de Giovanni Vacca sur la contre-culture dans la chanson napolitaine, puis trois articles sur le punk, avec le mouvement des punks musulmans "Taqwacores" (Aline Macke), le Do It Yourself (Fabien Hein) et les skinheads (Gildas Lescop), avant de conclure ce premier volet avec l’article de Philippe Birgy sur l’adaptation française de la contre-culture. With this first of our "countercultures" dossier, we start with Andy Bennett’s introduction which examines the definition of the concept, before getting into theoretical questions, with Ryan Moore’s article on the relationship between the music of the 1960s counterculture and modernism, and Simon Warner’s articles on Andy Warhol’s "trash" aesthetic. The second part deals with countercultural scenes in Italy, with Giovanni Vacca’s paper on the Neapolitan song, then three articles on the punk movement, with the Taqwacores Muslim punks (Aline Macke), Do It Yourself production ethics (Fabien Hein) and skinheads (Gildas Lescop). We then conclude with Philippe Birgy account of how local pop adapted the counterculture to the French context. NOTE DE LA RÉDACTION La version anglaise, avec des articles inédits, de ces deux numéros Countercultures and Popular Music, a été publiée par Ashgate en juin 2014. Tous les articles anglais, traduits ou non dans cet ouvrage, sont désormais disponibles sur ce site. The English version of both issues, Countercultures and Popular Music, was published by Ashgate in June 2014, with additional papers. All papers are now online here. Volume !, 9 : 1 | 2012 2 SOMMAIRE Contre-cultures : théorie & scènes Introduction Contre-cultures : Musiques, Théorie et Scènes Sheila Whiteley Countercultures: Music, Theory and Scenes Sheila Whiteley Pour une réévaluation du concept de contre-culture Andy Bennett Reappraising « Counterculture » Andy Bennett Théorie « Break on Through » : Contre-culture, musique et modernité dans les années 1960 Ryan Moore “Break on Through”: Counterculture, Music and Modernity in the 1960s Ryan Moore La Banalité de la dégradation : Andy Warhol, le Velvet Underground et l’esthétique trash Simon Warner The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic Simon Warner Were British Subcultures the Beginnings of Multitude? Charles Mueller Scènes Musique et contre-cultures en Italie : la scène napolitaine Giovanni Vacca Music and Countercultures in Italy: the Neapolitan Scene Giovanni Vacca Les Taqwacores : émergence d’une contre-subculture américano-musulmane Aline Macke Volume !, 9 : 1 | 2012 3 Le DIY comme dynamique contre-culturelle ? L’exemple de la scène punk rock Fabien Hein Skinheads : du reggae au Rock Against Communism Gildas Lescop « Si cette histoire vous amuse, on peut la recommencer » Le yéyé et l’importation de la contre-culture américaine Philippe Birgy Countercultural Space Does Not Persist: Christiania, and the Role of Music Þorbjörg Daphne Hall Auditory traces of subcultural practices in 1960s Berlin. A border-crossing soundscape of Pop Heiner Stahl Notes de lecture du dossier Andy Bennett (ed.), Remembering Woodstock Ian Inglis Claude Chastagner, Révoltes et utopies. Militantisme et contre-culture dans l’Amérique des années soixante Michaël Rolland Barbara Lebrun, Protest Music in France. Production, Identity and Audiences Elsa Grassy Ian Peddie (ed.), Popular Music and Human Rights I & II Hazel Marsh Keith Negus, Bob Dylan Richard Elliott Russell Reising (ed.), “Speak to Me”: The Legacy of Pink Floyd’s. The Dark Side of the Moon Patrick Burke Kevin Fellezs, Birds of Fire : Jazz, Rock, Funk and the Creation of Fusion Peter Mills Varia « Make-Believe Ballroom Times » : de l’influence du DJing sur les modes d’interprétation et de composition des musiques populaires anglo-américaines Olivier Julien Compte-rendu Séminaire d’histoire sociale du rock Stéphane Escoubet et Yannig le Moullec Volume !, 9 : 1 | 2012 4 Notes de lecture hors-dossier Talia BACHIR-LOOPUYT, Clément CANONNE, Pierre SAINT-GERMIER, Barbara TURQUIER (dir.), « Improviser. De l’art à l’action », Tracés, Revue de sciences humaines Jean-Louis Fabiani Fréderic Martel, Mainstream. Enquête sur cette culture qui plaît à tout le monde Raphaël Nowak Volume !, 9 : 1 | 2012 5 Contre-cultures : théorie & scènes Countercultures: theory & scenes NOTE DE L’ÉDITEUR Une version anglaise de ces deux numéros consacrés aux contre-cultures, avec des articles inédits, sera publiée en 2013 par Sheila Whiteley et Jedediah Sklower, aux éditions Ashgate. Volume !, 9 : 1 | 2012 6 Contre-cultures : théorie & scènes Introduction Volume !, 9 : 1 | 2012 7 Contre-cultures : Musiques, Théorie et Scènes Sheila Whiteley Traduction : Gérôme Guibert Je voudrais remercier mon co-directeur Jedediah Sklower pour son soutien et son enthousiasme tout au long de l’élaboration de ce projet « musiques populaires et contre-cultures ». Ce qui aurait pu être une tâche laborieuse fut de ce fait une exploration joyeuse de l’histoire et des différentes manifestations des contre-cultures. Volume !, 9 : 1 | 2012 8 1 NOTRE PREMIER DOSSIER « contre-cultures et musiques populaires » offre au lecteur l’occasion d’explorer l’histoire de la notion de contre-culture et de comprendre comment elle a été théorisée dans le champ des études sur la musique. Il fournit également un éclairage sur la manière dont elle a émergé et a pris, internationalement, place au sein de scènes musicales qui ont posé des défis aux cultures dominantes. En décembre 2012, le second dossier à paraitre dans Volume ! « Utopies et expérimentations », explorera les utopies et les dystopies ainsi que les anarchies sonores et la question des freaks. Il se concentrera sur la manière dont la contre-culture des années 1960 a pu embrasser à la fois un cadre idéaliste de référence et une revendication de liberté et de bohème beat et hip, qui a pu dévier en bacchanales de viols et de meurtres. Comme Simon Frith l’a pertinemment observé, « le rock ne peut pas simplement être consommé mais doit évoluer, comme n’importe quelle autre forme d’art – ces tensions et contradictions étant liées à l’expérience de l’auditeur et réinterprétées par cette expérience » (Frith, 1977). D’autres écrits concernant les contre-cultures et musiques populaires seront simultanément publiés en 2013 en anglais sous la forme d’un livre par Ashgate, en collaboration avec Volume !, confirmant le caractère significatif de la notion de contre-culture en tant que moment décisif dans l’histoire continue des musiques populaires. Comme Andy Bennett l’écrit dans son article introductif, « », alors que « la nature profondément diverse et hétérogène des individus comme des idéologies sociopolitiques et culturelles » a été énormément explorée en relation aux « subcultures » (p. 24), il y a eu en revanche beaucoup moins de recherches concernant la contre-culture, qui est donc restée un concept problématique. Ce qui émerge de la vingtaine d’articles qui apparaissent dans les trois publications « contre-cultures et musiques populaires », c’est le manque de précision du terme. La contre-culture est « quelque chose de suffisamment fluide pour pouvoir incorporer différents groupements et, par conséquent, se manifester différemment à des moments et dans des lieux particuliers, en fonction des circonstances socio- économiques, culturelles et démographiques locales » (p. 25). Alors que le manque d’attention spécifique porté sur la contre-culture des années 1960 justifie en lui-même ce travail, il apparait aussi que certaines questions restent encore aujourd’hui en suspens, notamment en ce qui concerne la diversité démographique et politique du mouvement, « au sein d’un cadre unifiant la variété des contre-cultures » (Roszak, 1970 : 66). Comme je l’ai écrit dans The Space Between the Notes, il existait à la fin des années 1960 aux États-Unis une tension sous-jacente constitutive entre l’activisme des étudiants de la nouvelle gauche et la bohème « fuck the system » des hippies et yippies. À un niveau plus profond toutefois, ces deux extrêmes se rejoignaient dans leur attaque des institutions traditionnelles à l’origine de la reproduction des relations de domination idéologico-culturelles (famille, éducation, media, mariage et division sexuelle du travail). Le mouvement partageait « une emphase dans le questionnement et l’expérimentation de la liberté, un attachement à l’épanouissement personnel, ainsi qu’une intense introspection individuelle »
Load more

Recommended publications
  • Beginner's Puzzle Book
    CRASS JOURNAL: A record of letters, articles, postings and e-mails, February 2009 – September 2010 concerning Penny, Gee and Allison’s ‘Crassical Collection’. 1 Mark Hodkinson Pete Wright POMONA 22nd March, 2004 Dear Mark, I was sent a copy of your book, ‘Crass - Love Songs’ by Gee recently. Having read your introduction, and the preface by Penny, I felt moved to write to you. Crass was a group functioning on consensus with the occasional veto thrown in for good measure, so I thought you might be interested in a slightly different view of the proceedings. From the nature of your introduction, I’d say that you have a pretty thorough grounding in certain aspects of the band. I’d like to broaden the context. Things were fine when we started gigging, before we had any status or influence. The main discomfort I felt and still feel about what the band promoted, started when I realised that Thatcher’s sordid right-wing laissez-faire was little different from what we were pushing. It was an unpleasant shock. Neither Thatcher nor we considered the damage done. We concentrated on the ‘plus’ side always. To say that everyone can ‘do it’, and counting it a justification when the talented, the motivated, or the plain privileged responded, while ignoring the majority who couldn’t ‘do it’, and those who got damaged trying, is a poor measure of success. Just as Putin has become the new Tzar of Russia, Crass used the well worn paths to success and influence. We had friends, people with whom we worked and cooperated.
    [Show full text]
  • Komplette Ausgabe Als
    HARDCOREMAGAZIN MARZ / APRIL 90 TRUST NEW ON SAINT VITUS TOXIC REASONS LP 008-68081 CD 084-68082 ON TOUR MÄRZ ’90: 4.-7. ENGLAND 8.-11. HOLLAND 12. ÜBACH-PALENBERG-ROCKFABRIK HOW IT LOOKS - HOW IT IS 13. FRANKFURT-BATSCHKAPP LP 008-68091 CD 084-68092 14. MÜNCHEN-THEATERFABRIK 16. BERLIN-SCHACHTQUALLE 17. SCHWEDEN ON TOUR APRIL ’90: 19. HAMBURG-FABRIK 20. KÖLN-ROSE CLUB 2. BERLIN ECSTASY 21. HEIDELBERG-SCHWIMMBAD 5. HAMBURG * 23. FREIBURG-CRÄSCH 6. OLDENBURG-ALHAMBRA * 24. KEMPTEN-ALLGÄUHALLE 7. ENGER-FORUM 8. KÖLN-ROSE CLUB 25. A DORNBIRN-KONKRET HOHENEMS 11. LEONBERG-BEATBARACKE 28. STUTTGART-RÖHRE 12. GAMMELSDORF-CIRCUS 29. CH BASEL-HIRSCHENECK 13. FREIBURG-JAZZHAUS 30. CH ZÜRICH-STUTZ 31. CH BERN-REITHALLE WIRD FORTGESETZT ! WIRD FORTGESETZT ! (* MIT BULLET LAVOLTA) IM VERTRIEB VON -SpV L a çï a r h r i a f a Vielen Dank für die Besprechung un- einer zivilen Bullenstreife beob- Mensch ist anscheinend beim Lesen seres Tapes in Eurer Ausgabe vom achtet zu werden. Es kam zu einer auf bestimmte Sachen Nov.89. Leider sind Euch dabei ei- Anzeige, und die Nazis mußten vor /Gruppen/Platten fixiert. Ja, was nige kleinere Fehler unterlaufen: Gericht antreten. mich noch nervt: In den "News" gibt a) Wir haben Euch nicht eine, son- Gegen den vorbestraften Braasch, es immer CD's (nur 1000 Stück), 500 dern zwei Cassetten zum Besprechen der den Wagen "nur" gefahren hatte limitierte 7", usw. O.k., ich nehms geschickt. (unseres Erachtens aber der Initia- zu 2/3 wieder zurück. Der Rest ist b) Diese beiden Cassetten sind tor dieser Aktion war!), wurde sein in den Anzeigen, nicht nur bei keine Demos, sondern Sampler, die Verfahren schon im Vorwege einge- Euch.
    [Show full text]
  • Disability in an Age of Environmental Risk by Sarah Gibbons a Thesis
    Disablement, Diversity, Deviation: Disability in an Age of Environmental Risk by Sarah Gibbons A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2016 © Sarah Gibbons 2016 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This dissertation brings disability studies and postcolonial studies into dialogue with discourse surrounding risk in the environmental humanities. The central question that it investigates is how critics can reframe and reinterpret existing threat registers to accept and celebrate disability and embodied difference without passively accepting the social policies that produce disabling conditions. It examines the literary and rhetorical strategies of contemporary cultural works that one, promote a disability politics that aims for greater recognition of how our environmental surroundings affect human health and ability, but also two, put forward a disability politics that objects to devaluing disabled bodies by stigmatizing them as unnatural. Some of the major works under discussion in this dissertation include Marie Clements’s Burning Vision (2003), Indra Sinha’s Animal’s People (2007), Gerardine Wurzburg’s Wretches & Jabberers (2010) and Corinne Duyvis’s On the Edge of Gone (2016). The first section of this dissertation focuses on disability, illness, industry, and environmental health to consider how critics can discuss disability and environmental health in conjunction without returning to a medical model in which the term ‘disability’ often designates how closely bodies visibly conform or deviate from definitions of the normal body.
    [Show full text]
  • Brave New World
    The Booksellers Association of the United Kingdom & Ireland Brave New World Digitisation of Content: the opportunities for booksellers and The Booksellers Association Report to the BA Council from the DOC Working Group Martyn Daniels Member of the BA's Working Group November 2006 1 The Booksellers Association of the United Kingdom & Ireland Limited 272 Vauxhall Bridge Road, London SW1V 1BA United Kingdom Tel: 0044 (0)207 802 0802 e-mail: [email protected] website: http://www.booksellers.org.uk © The Booksellers Association of the United Kingdom & Ireland Limited, 2006 First edition November 2006 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of The Booksellers Association. British Library Cataloguing in Publication Data Brave New World Digitisation of Content: the opportunities for booksellers and The Booksellers Association ISBN 978-0-9552233-3-4 This publication was digitally printed by Lightning Source and is available on demand through booksellers. This publication is also digitally available for download to be read by DX Reader, MS Reader, Mobipocket & Adobe eBook reader from www.booksellers.org.uk This digitisation plus the digitisation for Lightning Source has been performed by Value Chain International www.value-chain.biz 2 Members of the DOC Working Group Members of the working group are as follows: Joanne Willetts Entertainment UK (Chairman)
    [Show full text]
  • Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
    Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content.
    [Show full text]
  • Mass Manslaughter: but Less Than a Felony,Sometimes an Ear Is Just an Ear: Baylies Band Releases Freudian Ears,RIP Andy Gill &Am
    Spring Growth: New albums and local shows kick the season off right The Z-Boys – Elwood Here’s (I’m assuming) a Motif exclusive: Elwood, the sophomore album from Newport’s The Z-Boys, hits the streets March 6. They’re a band known for their high-energy performances. With tempos and influences all over the place, it’s like a dump truck careening along the edge of a canyon road. Fans will be pleased that the new album manages to keep much of the mayhem intact. You may be familiar with the brand of “everything overload” the Newport band pours into the cauldron, throwing in blues rock, surf, Latin, country and more. Distilling a dynamic live band into an album format can be difficult. Studio constraints have the Z-Boys a bit more restrained, but without a lot of production fluff. “You Lie” is familiar blues rock territory about lying, cheating, etc, and “Don’t Have to Hang Around” is a folk-Mariachi tune mixed with a pleasant country vibe. “Too Slow” is a Steely Dan-like shuffle with a barrage of drum fills, and “Wanna Be Sure” features chunky, arena rock power chords. The downside with the everything-but-the-kitchen-sink method is there’s no real standout track. Elwood has the expected guitar fireworks present in every song, along with rock solid, tasteful bass playing. The drumming is enthusiastic if not overbearing at times, like Keith Moon on Lite Rock 105. I think the best times are when they just fuckin’ go for it full bore without bothering with a melody.
    [Show full text]
  • This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
    THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina.
    [Show full text]
  • If:Book Futureofthebook.Org.Uk July 2008
    read:write Digital Possibilities for Literature A report for Arts Council England by Mary Harrington & Chris Meade if:book futureofthebook.org.uk July 2008 Report commissioned by Arts Council England Contents 1. Executive summary 6 1.1 Brief and Methodology 6 1.2 Introduction 6 1.3 Web culture 6 1.4 New Writing and the Web 7 1.5 Born digital creative forms 7 1.6 Reading & writing 7 1.7 Live literature 8 1.8 Publishing 8 1.9 Technology 8 1.10 Conclusion 9 2. Introduction 10 2.1 Familiar objections 11 2.2 Rapid change 11 3. Web Culture 12 3.1 Introduction 12 3.2 Key ideas for the literature sector 12 3.2.1 The read/write Web 3.2.2 Community building strategies 3.2.3 Cultural loss leaders 3.2.4 Convergence and curation 3.2.5 Opportunities for literature 3.3. A short history of the network 13 3.3.1 The network 3.3.2 The World Wide Web 3.3.3 The first bubble 3.3.4 Web 2.0 after the dot-com bust 3.3.5 Impacts of Web 2.0 3.3.6 Ideas: the read/write Web 3.3.7 Where next? 4. New writing and the web 17 4.1 Literary magazines online 17 4.1.1 Overview 4.1.2 A first filter of quality 4.1.3 Technology 4.1.4 Print magazines online 4.1.5. Case study: Pen Pusher 4.1.5.i 21st-century literary endeavour 4.1.5.ii Using digital technologies to build community 4.1.5.iii Ad-supported 4.2 Online-only (ezines) 19 4.2.1 Case study: Pulp.net and 3:AM 4.3 Words are cheap 21 4.4 Writers’ Communities 21 4.4.1 Overview 4.4.2 Writing for publication 2 4.4.3 User case study: Joe Dunthorne 4.4.4 Case study: YouWriteOn.com 4.4.5 Writing for fun 5.
    [Show full text]
  • 4 Foreign Influences on Old English
    4 Foreign Influences on Old English 53. The Contact of English with Other Languages. The language that was described in the preceding chapter was not merely the product of the dialects brought to England by the Jutes, Saxons, and Angles. These formed its basis, the sole basis of its grammar and the source of by far the largest part of its vocabulary. But other elements entered into it. In the course of the first 700 years of its existence in England it was brought into contact with at least three other languages, the languages of the Celts, the Romans, and the Scandinavians. From each of these contacts it shows certain effects, especially additions to its vocabulary. The nature of these contacts and the changes that were effected by them will form the subject of this chapter. 54. The Celtic Influence. Nothing would seem more reasonable than to expect that the conquest of the Celtic population of Britain by the Anglo-Saxons and the subsequent mixture of the two peoples should have resulted in a corresponding mixture of their languages; that consequently we should find in the Old English vocabulary numerous instances of words that the Anglo- Saxons heard in the speech of the native population and adopted. For it is apparent that the Celts were by no means exterminated except in certain areas, and that in most of England large numbers of them were gradually assimilated into the new culture. The Anglo-Saxon Chronicle reports that at Andredesceaster or Pevensey a deadly struggle occurred between the native population and the newcomers and that not a single Briton was left alive.
    [Show full text]
  • Squatted Social Centres in England and Italy in the Last Decades of the Twentieth Century
    Squatted social centres in England and Italy in the last decades of the twentieth century. Giulio D’Errico Thesis submitted for the degree of PhD Department of History and Welsh History Aberystwyth University 2019 Abstract This work examines the parallel developments of squatted social centres in Bristol, London, Milan and Rome in depth, covering the last two decades of the twentieth century. They are considered here as a by-product of the emergence of neo-liberalism. Too often studied in the present tense, social centres are analysed here from a diachronic point of view as context- dependent responses to evolving global stimuli. Their ‗journey through time‘ is inscribed within the different English and Italian traditions of radical politics and oppositional cultures. Social centres are thus a particularly interesting site for the development of interdependency relationships – however conflictual – between these traditions. The innovations brought forward by post-modernism and neo-liberalism are reflected in the centres‘ activities and modalities of ‗social‘ mobilisation. However, centres also voice a radical attitude towards such innovation, embodied in the concepts of autogestione and Do-it-Yourself ethics, but also through the reinstatement of a classist approach within youth politics. Comparing the structured and ambitious Italian centres to the more informal and rarefied English scene allows for commonalities and differences to stand out and enlighten each other. The individuation of common trends and reciprocal exchanges helps to smooth out the initial stark contrast between local scenes. In turn, it also allows for the identification of context- based specificities in the interpretation of local and global phenomena.
    [Show full text]
  • Ricky Warwick
    RICKY WARWICK - When Patsy Cline Was Crazy (And Guy Mitchell Sang The Blues) / Hearts On Trees - Genre: Rock CD Digi 2736136482, LP-1 VÖ: 26.02.2016 FACTS “Exzellentes Doppelalbum des Black -Star -Riders -Fron tmannes und ex - New-Model Army- und The-Almighty-Sängers und -Gitarristen Ricky Warwick. Insgesamt sprechen wir von einem wahnsinnig guten, fast makellosen Doppel-Album, mit dem sich Ricky Warwick selbst ein Denkmal gesetzt hat!“ LEGACY, Markus Wiesmüller, 14/15 Punkte „Neben der Stammformation mit Warwick , Robbie Crane (Black Star Riders ), Mark Thwaite (The Mission, Peter Murphy) und Gary Sullivan helfen u.a. gerne und mit spürbarer Begeisterung mit: Joe Elliott (Def Leppard), Damon Johnson (Lizzy, Black Star Riders), Andy Cairns (Therapy?), Ginger Wildheart und Jake Burns (Stiff Little Fingers) sowie Richard Fortus (Guns `N´ Roses). Herr Warwick hat eine eigene Tour zu den Alben angekündigt. Da kann man sich drauf freuen! „Kick-Ass-Rocker 2CD 2736136482 Yi Ricky Warwick in Bestform!“ ROCK IT, Detlef Wullbrandt, 10/10 Punkte # Für Fans von : Thin Lizzy, The Almighty, Black Star Riders, Def Leppard, Bruce Springsteen, Steve Earle, Stiff Little Fingers, Johnny Cash # 2 CD mit 8 Bonus Tracks! # Anzeigenschaltung in den Feb/März Ausgaben von: Rock Hard, Metal 2LP 2736136481 AB Hammer, Rocks, Rock It und Classic Rock # Track 3 auf den CD Beilagen von Rock it, Rocks, Metal Hammer und Rock Hard, Classic Rock, Rock It und Eclipsed # Reviews, Soundcheck, Interviews in den März Ausgaben von: Metal Hammer, Rock Hard, Rock It, Legacy, Hard
    [Show full text]
  • If I Say If: the Poems and Short Stories of Boris Vian
    Welcome to the electronic edition of If I Say If: The Poems and Short Stories of Boris Vian. The book opens with the bookmark panel and you will see the contents page. Click on this anytime to return to the contents. You can also add your own bookmarks. Each chapter heading in the contents table is clickable and will take you direct to the chapter. Return using the contents link in the bookmarks. The whole document is fully searchable. Enjoy. If I Say If The high-quality paperback edition is available for purchase online: https://shop.adelaide.edu.au/ CONTENTS Foreword ix Marc Lapprand Boris Vian: A Life in Paradox 1 Alistair Rolls, John West-Sooby and Jean Fornasiero Note on the Texts 13 Part I: The Poetry of Boris Vian 15 Translated by Maria Freij I wouldn’t wanna die 17 Why do I live 20 Life is like a tooth 21 There was a brass lamp 22 When the wind’s blowing through my skull 23 I’m no longer at ease 24 If I were a poet-o 25 I bought some bread, stale and all 26 There is sunshine in the street 27 A stark naked man was walking 28 My rapier hurts 29 They are breaking the world 30 Yet another 32 I should like 34 If I say if 35 If I Say If A poet 36 If poets weren’t such fools 37 It would be there, so heavy 39 There are those who have dear little trumpets 41 I want a life shaped like a fishbone 42 One day 43 Everything has been said a hundred times 44 I shall die of a cancer of the spine 45 Rereading Vian: A Poetics of Partial Disclosure 47 Alistair Rolls Part II: The Short Stories of Boris Vian 63 Translated by Peter Hodges Martin called…
    [Show full text]