Central European Journal of Politics
Central European Journal of Politics, Vol. 4, No. 1 (2018)
Obsah / Content
Jan Charvát: Subkultury a politika [Subcultures and Politics]
How to Cite: Charvát, J. 2018. „Subkultury a politika.“ Central European Journal of Politics 4 (1): 1–3.
Ondřej Slačálek: Morální panika a její kritici [Moral panic and its critics]
Abstract: The article discusses the possibilities and limits of the concept of moral panics almost fifty years after the concept was first formulated. It presents classic formulations of moral panics (Cohen 1972/2011, Goode, Ben Yehuda 2009) and also the most important revisions (Hall et al., Hier). After that, it traces the debate between the most important critics (McRobbie, Thornton, Watney, Ungar and others) and their criticism of the various attributes of moral panic. The article concludes that we need to rethink both disproportionality and consensus as the main characteristics of the moral panic: due proportion cannot be judged scientifically, while with regard to consensus, we have to consider the situation of the divisions in society and the possibilities of various factions in society to mobilize their own moral panic in their decentralized media networks. This leads us to another point that we need to historicize a moral panic both as a historical episode and as the result of longue durée historical trends.
Keywords: moral panics, Stanley Cohen, Stuart Hall, criticism of moral panics, unproportionality, consensus
How to Cite: Slačálek, O. 2018. „Morální panika a její kritici.“ Central European Journal of Politics 4 (1): 4–33.
Abstract: Using an example of punk festivals Mighty Sounds, Pod Parou, Fluff Fest approached qualitatively in years 2015–2017, the text targets two main concerns. The first one is a non-problematized premise of homogeneity of punk seen in many investigations in Czechia. The second one is a conceptual crisis in a research of politics at festivals which is stuck between a threat of over-politicization with scrutinizing a subversive function of festival as such and under-politicization with a resignation to focus at relation between politics and festivals at all. The text moves from the functionalist perspective on politics of festival to non-functionalist scrutiny of fragments of politics at festivals. Such move not only enables to analyse and compare the festivals in contents, forms and positions of the fragments, but as well to trace different logics of punk behind them – multi- or post-subcultural punk of MS, streetpunk of PP and HC/punk of FF. By doing so, heterogeneity of punk is revealed.
Keywords: Czech Republic, punk festival, fragments of politics, heterogeneity, musical youth subcultures
How to Cite: Kuřík, B. 2018. “Fragmenty politiky & heterogeneita punkových festivalů v soudobém Česku” Central European Journal of Politics 4 (1): 34–56.
Abstract: Beer Bar Azyl was founded in Liberec in 2009. There was formed a collective around the bar. It has organized cultural program and participed on the bar operation. The bar got in the existence troubles in 2017, cause the problems with new neighbor. The collective had to respond to and act. The paper try to describe the nature of collective and research, if the collective has a character of a scene or community. It notices the mechanisms of collective functioning and its relations with a „outside world“. The paper is focused on the developement of collective and if there is some role (and possibly what) of the situation in 2017. The paper also examine the fact, that Pivní bar Azyl has specialized only in offering beers from small breweries. Does it play a role in the developement and formation of the place and the collectvie, but also of their relationships?
How to Cite: scene, community, hardcore punk, beer, craft beer, bar, music club, Liberec
How to Cite: Horáček, M. 2018. „Pivní bar Azyl: mezi scénou a komunitou.“ Central European Journal of Politics 4 (1): 57–79.
Anna Oravcová – Jan Charvát: Czech Rap Music and Right-Wing Attitudes
Abstract: In this article we focus on the possibilities of the appropriation of rap music in the Czech Republic by far-right groups. In the first part we look at the relationship between far-right and music scenes in other European countries as well as in the Czech Republic, in particular the relationship to hip-hop. In the second part we look at two groups, Duoradikal and Fuerza Arma. Using the method of content analysis, we focus on the themes expressed by the two groups (and solo projects of their members), in order to see whether they could be labeled as White Power Music.
Keywords: Rap, Czech Republic, Hip-hop, far-right, subculture, skinhead, Autonomous nationalists
How to Cite: Oravcová A. – Charvát., J. 2018. „Czech Rap Music and Right-Wing Attittudes.“ Central European Journal of Politics 4 (1): 80–105.
Abstract: This article focuses on the issue of white power music in the Slovak Republic, which we see as a very important element for mobilizing and disseminating the ideology of the extreme right. The paper focuses on the Bratislava-Petrzalka, which the white power bands often refer to. The first part presents the white power music in terms of genres that are typical of it. The second section discusses possible methodological approaches for analysis. The final part is the analysis of the bands from the Bratislava-Petrzalka from the perspective of the transformation of themes in the timeline. In this analysis, however, we also follow the transformation of perceived enemies.
Keywords: far right, white power music, skinheads, Engerau, neo-Nazism, racism
How to Cite: Bláha, P. 2018. „White Power Music in Bratislava: Rock on the right side (od Danube).“ Central European Journal of Politics 4 (1): 106–133.
RECENZE / REVIEWS
Jan Charvát: Ondřej DANIEL: Násilím protim“novému Biedermeieru!“
How to Cite:: Charvát, J. 2017. „Ondřej DANIEL: Násilím protim“novému Biedermeieru!.“ Central European Journal of Politics 4 (1): 134–136.