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9 /201 2 № Studies Winter – Fall Revi ew , guest-edited guest-edited 12 by Kryštof Kozák 1968 RIAS Vol. RIAS Vol. of International American TRANSNATIONAL LEGACIES TRANSNATIONAL ISSN 1991–2773 Vol. 12, Fall–Winter № 2/2019 1968: TRANSNATIONAL LEGACIES RIAS Review of International American Studies Revue d’Études Américaines Internationales RIAS Vol. 12, Fall–Winter № 2 /2019 ISSN 1991–2773 1968 TRANSNATIONAL LEGACIES guest-edited by Kryštof Kozák EDITORS Editor-in-Chief: Giorgio Mariani Managing Editor: Paweł Jędrzejko Associate Editors: John E. Dean and György ‘George’ Tóth Senior Copyeditors: Meghan McKinney Jones, Emily Metzner, Mark Olival-Bartley Book Review Editor: Manlio Della Marca ISSN 1991–2773 TYPOGRAPHIC DESIGN: Hanna Traczyk / M-Studio s. c. PUBLICATION REALIZED BY: S UNIVERSITYOF SILESIA PRESS IN KATOWICE University of Silesia Press in Katowice ul. Bankowa 12b 40–007 Katowice Poland EDITORIAL BOARD Marta Ancarani, Rogers Asempasah, Antonio Barrenechea, Claudia Ioana Doroholschi, Martin Halliwell, Patrick Imbert, Manju Jaidka, Djelal Kadir, Eui Young Kim, Rui Kohiyana, Kryštof Kozák, Elizabeth A. Kuebler-Wolf, Márcio Prado, Regina Schober, Lea Williams, Yanyu Zeng. ABOUT RIAS Review of International American Studies (RIAS) is the double-blind peer- reviewed, electronic / print-on-demand journal of the International American Studies Association, a worldwide, independent, non-governmental asso- ciation of American Studies. RIAS serves as agora for the global network of international scholars, teachers, and students of America as a hemispheric and global phenomenon. RIAS is published by IASA twice a year (Fall–Winter and Spring–Summer). RIAS is available in the Open Access Gold formula and is REVUE D’ÉTUDES AMÉRICAINES INTERNATIONALE financed from the Association’s annual dues as specified in the “Membership” section of the Association’s website. All topical manuscripts should be directed to the RIAS Editors online via submissions website: www.rias-journal.org. Gen- eral correspondence and matters concerning the functioning of RIAS should be addressed to RIAS Editor-in-Chief. CONTACT INFORMATION and HARD COPY ORDERS Prof. Giorgio Mariani Dipartimento di Studi Europei, Americani e Interculturali Università “Sapienza” di Roma Via della Circonvallazione Tiburtina, 4 Edificio Ex-Poste, stanza n. 337, III piano 00185 Roma, Italy Tel. +390688378085, e-mail: [email protected] WEBSITE: www.rias-journal.org COVER ART: 10 Soviet Invasion of Czechoslovakia (1968), © by the CIA. The image is licensed as Work of the United States Government (public domain) DOI: 10.31261/rias.2019.12.2 RIAS—REVIEW OF INTERNATIONAL AMERICAN STUDIES / Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) 1968 TRANSNATIONAL LEGACIES guest-edited by Kryštof Kozák Paweł Jędrzejko RIAS Managing Editor 5 THE TIMES THEY ARE A-CHANGIN’ ED/NOTE Kryštof Kozák Guest Editor INTRO 25 1968 AS A SYMBOL Introduction Jan Géryk 27 COUNTER-REVOLUTION, OR AUTHENTIC SOCIALISM? The Reactions of the US Left to the Events in Czechoslovakia FEATURES in 1968 György Tóth 49 THE CASE FOR A NATIVE AMERICAN 1968 AND ITS TRANSNATIONAL LEGACY Adrian George Matus 71 EASTERN-EUROPEAN 1968s? Alexander Gungov 89 AMERICAN AND EUROPEAN LEFTIST ACADEMIA THROUGH THE PRISM OF PAUL BERMAN’S A TALE OF TWO UTOPIAS: THE POLITICAL JOURNEY OF THE GENERATION OF 1968 Nicola Paladin 103 MODES AND MOVES OF PROTEST Crowds and Mobs in Nathan Hill’s The Nix 3 1968 Albena Bakratcheva Transnational 119 “MEN FIRST, SUBJECTS AFTERWARD” Legacies Thoreau, “Civil Disobedience,” FEATURES 2019 and the Thoreauvian Echoes of 1968 and After / 2 № Alessandro Buffa 129 INNER CITY BLUES Blues Legacies and the Roots of 1968 fall–winter fall–winter Marie Černá , 12 141 MEMORY OF THE WARSAW PACT INTERVENTION ol. IN THE POST-AUGUST HISTORY 1968–1989 v Manipulation, Oblivion, and Conservation rias Deborah Cohn 159 CAMPAIGNING CULTURE AND THE GLOBAL COLD WAR: THE JOURNALS OF THE CONGRESS FOR CULTURAL FREEDOM BOOK REVIEWS edited by Giles Scott-Smith and Charlotte Lerg (A Book Review) Fiorenzo Iuliano 167 AMERICAN LITERATURE IN THE WORLD: AN ANTHOLOGY FROM ANNE BRADSTREET TO OCTAVIA BUTLER edited by Wai Chee Dimock et al. (A Book Review) Ursula Prutsch 175 AREA STUDIES REVISITED DIE GESCHICHTE DER LATEINAMERIKASTUDIEN IN DEN USA, 1940 BIS 1970 by Torsten Loschke (A Book Review) 181 ABSTRACTS AND NOTES ON CONTRIBUTORS END/NOTES 189 RIAS EDITORIAL POLICY / STYLESHEET 4 Review of International American Studies ED/NOTE RIAS Vol. 12, Fall–Winter № 2 /2019 ISSN 1991–2773 DOI: 10.31261/rias.8007 THE TIMES THEY ARE A-CHANGIN’ Come gather ’round people hen Bob Dylan first recor- Paweł Jędrzejko 1 RIAS Managing Editor Wherever you roam Wded his poem, he could University of Silesia And admit that the waters not have possibly intended it in Katowice Around you have grown as “the archetypal protest song” Poland And accept it that soon (Gray 2006: 662), although, as Mar- https://orcid.org/0000-0002-3251-2540 You’ll be drenched to the bone co Principia notes, the singer- If your time to you is worth savin’ songwriter himself told Cameron Then you better start swimmin’ or you’ll sink like a stone Crowe that “[t]his was definitely For the times they are a-changin’ a song with a purpose. It was influenced of course by the Irish Come writers and critics and Scottish ballads […] ’Come Who prophesize with your pen All Ye Bold Highway Men,’ ‘Come And keep your eyes wide The chance won’t come again All Ye Tender Hearted Maid- And don’t speak too soon ens.’ I wanted to write a big For the wheel’s still in spin song”—Dylan continued—“with And there’s no tellin’ who that it’s namin’ short concise verses that piled For the loser now will be later to win up on each other in a hypnotic For the times they are a-changin’ way. The civil rights movement Come senators, congressmen and the folk music movement Please heed the call were pretty close for a while Don’t stand in the doorway and allied together at that time” Don’t block up the hall (Principia 2018). Apparently, For he that gets hurt as the author of Bob Dylan Ency- Will be he who has stalled There’s a battle outside and it is ragin’ clopedia observes, the artist’s “aim It’ll soon shake your windows was to ride upon the unvoiced and rattle your walls sentiment of the mass public— For the times they are a-changin’ to give that inchoate senti- 1. Bob Dylan, “The Times They Are A-Changin,’” Copyright © 1963, 1964 by Warner Bros. Inc.; renewed 1991, 1992 by Special Rider Music. 5 Come mothers and fathers ment an anthem and give its Throughout the land clamour an outlet. He succeeded, And don’t criticize but the language of the song is What you can’t understand nevertheless imprecisely and very Your sons and your daughters generally directed. It offers four Are beyond your command extended metaphors, and makes Your old road is rapidly agin’ Please get out of the new one no more than an easy politician’s if you can’t lend your hand use of any of them. The four are: For the times they are a-changin’ change as a rising tide; change dependent on the wheel of fate; The line it is drawn the Establishment as an edifice; The curse it is cast The slow one now and yesterday and tomorrow Will later be fast as roads to be opted for. People As the present now enjoy the song to the extent that Will later be past they approve of its theory. […]” The order is rapidly fadin’ (Gray 2006: 662; Principia 2018). And the first one now One may or may not agree will later be last with Gray’s rather stern criti- For the times they are a-changin’ cal assessment of the piece, Bob Dylan, 1963 which features as number 59 on The Rolling Stone 500 Greatest Songs of All Time list compiled in December 2004,2 and has enjoyed as many as 44+ recorded and world-promoted covers and reinterpreta- tions by notable artists between the time of its first release and today,3 both in and outside of America. Unquestionably, “The Times They Are 1968 A-Changing”—perhaps owing to its “imprecisely” and “very generally Transnational directed” language—appears to be found topical on all occassions, Legacies beginning with anti-war/anti-establishment protests and finishing 4 2019 with the launch of a new Apple computer in 1984 and Billy Bragg’s / 2 5 poignant remake of the song as a critique of Donald Trump’s presidency . № 2. See The Rolling Stone <http://www.rocklistmusic.co.uk/rstone. html#500Songs> (19.12.2019). 3. See, for instance, the “Other cover versions” section in the Eng- lish Wikipedia entry dedicated to the song. fall–winter fall–winter , 4. See, for instance, Andy Herzfeld, “The Times They Are A-Chang- 12 ing.’” Folklore.org, January 1984. <https://www.folklore.org/Sto- ol. ryView.py?story=The_Times_They_Are_A-Changin.txt> (08.12.2019). v 5. See Ryan Reed, “Hear Billy Bragg Reimagine Bob Dylan Anthem rias as Trump Protest. Singer-songwriter spins “The Times They Are A- 6 review of international american studies american international review of It is then possible to theorize that its “archetypal” quality may stem from the fact that, rather than reacting to any single event, the poet himself wrote the song in response to the general mood of his era, which Marco Principia emphasizes by quoting Dylan’s statement from an interview with Ray Coleman for the Melody Maker magazine: I was on 42nd street. People were moving. There was a bitterness about at that time. People were getting the wrong idea. It was nothing to do with age or parents.
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