This multi-authored monograph consists of the sections: “Pop Rock, Ethno-Chaos, Battle Drums, and a Requiem: The Sounds of the Ukrainian Revolution”, “The Euromaidan’s Aftermath and the Genre of Answer Song: A Musical Dialogue Between the Antagonists?”, “Exposing the Fault Lines beneath the Kremlin’s Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem”, “‘Lasha Tumbai’, or ‘Russia, Goodbye’? The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground”, and “(Post-)Soviet Rock Soundtracks the Donbas Conflict”.
Arve Hansen
Dr. Arve Hansen studied Russian, Ukrainian, and East European area studies in Minsk, Kyiv, and Tromsø. Since 2016 he is a member of the research group “Russian Space: Concepts, Practices, Representations” (RSCPR) at UiT – The Arctic University of Norway. Hansen is co-author of the book A War of Songs: Popular Music and Recent Russia-Ukraine Relations (ibidem Press, 2019). His papers have been published by, among others, Nordisk Østforum, Nordlit, and the Norwegian Institute of International Affairs.
Andrei Rogatchevski
Arve Hansen is a doctoral student of Russian at the UiT – the Arctic University of Norway. Dr. Polly McMichael is Lecturer in Russian and Slavonic Studies at the University of Nottingham. Dr. Andrei Rogatchevski is Professor of Russian Literature and Culture at the UiT – the Arctic University of Norway. Dr. Yngvar Steinholt is Associate Professor of Russian at the UiT – the Arctic University of Norway. Dr. David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg in Mannheim, Germany. The author of the foreword: Artemy Troitsky is a prominent music critic and author of Back in the USSR: The True Story of Rock in Russia (1987), Tusovka: Who’s Who in the New Soviet Rock Culture (1990), and Subkultura: Stories of Youth and Resistance in Russia, 1815-2017 (2017).
Yngvar B. Steinholt
Arve Hansen is a doctoral student of Russian at the UiT – the Arctic University of Norway. Dr. Polly McMichael is Lecturer in Russian and Slavonic Studies at the University of Nottingham. Dr. Andrei Rogatchevski is Professor of Russian Literature and Culture at the UiT – the Arctic University of Norway. Dr. Yngvar Steinholt is Associate Professor of Russian at the UiT – the Arctic University of Norway. Dr. David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg in Mannheim, Germany. The author of the foreword: Artemy Troitsky is a prominent music critic and author of Back in the USSR: The True Story of Rock in Russia (1987), Tusovka: Who’s Who in the New Soviet Rock Culture (1990), and Subkultura: Stories of Youth and Resistance in Russia, 1815-2017 (2017).
David-Emil Wickström
Arve Hansen is a doctoral student of Russian at the UiT – the Arctic University of Norway. Dr. Polly McMichael is Lecturer in Russian and Slavonic Studies at the University of Nottingham. Dr. Andrei Rogatchevski is Professor of Russian Literature and Culture at the UiT – the Arctic University of Norway. Dr. Yngvar Steinholt is Associate Professor of Russian at the UiT – the Arctic University of Norway. Dr. David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg in Mannheim, Germany. The author of the foreword: Artemy Troitsky is a prominent music critic and author of Back in the USSR: The True Story of Rock in Russia (1987), Tusovka: Who’s Who in the New Soviet Rock Culture (1990), and Subkultura: Stories of Youth and Resistance in Russia, 1815-2017 (2017).
Troitsky Artemy
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Lieferzeit
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Lieferzeit 2-3 Werktage.
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| Vorwort von | Troitsky Artemy |
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Seitenzahl |
258
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Typ |
Paperback
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Erscheinungsdatum |
30.05.2019
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Reihe |
Soviet and Post-Soviet Politics and Society
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Format |
21,0 cm x 14,8 cm
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Sprache |
Englisch
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ISBN
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978-3-8382-1173-2
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Gewicht
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335 g
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Herstellerangaben zur Produktsicherheit gemäß EU-GPSR
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mehr lesen
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"Although this volume only explores four ways in which the Russia–Ukraine conflict has altered popular musical relations between the two countries for the foreseeable future, its detailed illustrations help to explain why the rupture cuts so deep."—CATHERINE BAKER, Europe-Asia Studies, Vol. 72, Issue 8
"A War of Songs is a thoroughly informative and readable account of “how popular music plays an active part in every aspect of the discourse surrounding the Russo-Ukrainian crisis” with the capacity “to stimulate reflection and enable debates, as well as stage mere clashes of opinion” (199, 200). The index of music videos with YouTube links invites readers to listen to these songs along with the authors as they make their case for the patriotic and revolutionary power of music."—Ivan Raykoff, Slavic Review, Vol. 79
"Despite its title, A War of Songs skirts the topic, while possibly hinting, by virtue of its very conceptual framing, that the Russo-Ukrainian war was being waged in the cultural space long before it materialized as an actual military conflict. The book does examine the songs contemporary with the conflict, particularly in its second chapter."—I. Shuvalova, Slavonic and East European Review (vol. 99, no. 2, April 2021)
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