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From Folk to Jazz: Eric Hobsbawm, British Communism and Cultural Studies

机译:从民间到爵士乐:埃里克·霍布斯鲍姆,英国共产主义和文化研究

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Eric Hobsbawm's book The Jazz Scene (1959) is rarely mentioned by scholars in cultural studies and related disciplines. This article argues that the book has been neglected for too long, not least because it played an important transitional role in the development of British Marxist writing on popular culture. It can essentially be seen as a critical response to the cultural politics of the British Communist Party in the late 1940s and 1950s. In seeking to prove that jazz was a form to which serious people ought to pay attention, Hobsbawm drew freely but largely implicitly on the ideas of the numerous British communists who had (1) provided the so-called Second Folk Revival with its founding principles, and (2)? resisted the post-war influence of American popular culture. Hobsbawm's attitude to the work of his communist contemporaries was a strikingly ambiguous one. Aware that the Communist Party's cultural line was at once illiberal and unrealistic, he nevertheless tried to build on some of its main principles while calling others into question. The result was a book that refused to break entirely with communist orthodoxy but which also foreshadowed some of the main theoretical insights developed by later Marxist writers in cultural studies. Section One of the article examines the main ideas about popular culture to which British communists subscribed in the 1940s and 1950s. Section two identifies the theoretical principles on which The Jazz Scene was based. Section Three speculates briefly about Hobsbawm's influence on cultural studies in the 1960s and after.View full textDownload full textKeywordsHobsbawm, jazz, British communism, folk music, anti-Americanism, cultural studiesRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/03017605.2012.735875
机译:埃里克·霍布斯鲍姆(Eric Hobsbawm)的著作《爵士场景》(The Jazz Scene,1959)很少被文化研究和相关学科的学者所提及。本文认为,这本书被忽视了太长时间,这不仅是因为它在英国马克思主义大众文化著作的发展中起了重要的过渡作用。从本质上讲,它可以看作是对1940年代末和1950年代后期英国共产党文化政治的批判性回应。为了试图证明爵士乐是严肃的人们应该注意的一种形式,霍布斯鲍姆自由地,但又隐含地借鉴了众多英国共产主义者的思想,这些思想家(1)提出了所谓的“第二次民间复兴”及其创立原则,和(2)?抵制战后美国大众文化的影响。霍布斯鲍姆对当代共产党人的工作态度是一种明显的含糊。意识到共产党的文化路线一度是随意的和不现实的,他仍然试图在其主要原则上建立基础,同时又对其他原则提出了质疑。结果是这本书拒绝完全打破共产主义的正统观念,但也预示了后来的马克思主义作家在文化研究中提出的一些主要理论见解。本文的第一节考察了1940年代和1950年代英国共产党人所认同的关于流行文化的主要思想。第二部分确定了《爵士场景》所基于的理论原理。第三部分简要地推测了霍布斯鲍姆在1960年代及之后的文化研究中的影响。 ::“ citeulike,netvibes,twitter,technorati,美味,linkedin,facebook,stumbleupon,digg,google,更多”,pubid:“ ra-4dff56cd6bb1830b”}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/03017605.2012.735875

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