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This volume collects papers put together by an interdisciplinary group of scholars from Central Europe, North America, and Asia to explore how the imaginary geo-cultural space of Central Europe has acquired meanings over the past two centuries and how traveling images of an othered cultural space - inserted into specific regional, national and social contexts and appropriated for negotiations of cultural identity and belonging as well as exclusion and colonization - have laid the basis for a cultural essentialism which thinks culture through space and negotiates cultural status through de-historicized notions of place and territory. It particularly focuses on the specific factors and forms of mediation that mobilize, inhibit or prevent culture/s from traveling. More specifically it asks for the technologies, media, and forms of representation that render im/possible cultural ex/change. The case studies are intended as probes into a wide variety of contexts. Approaches to the highly complex processes delineating cultural mobility, they interrogate the instability of cultural flows and attempt to determine how these flows are re-territorialized into stable spatialized forms of identification and imaginings of culture.
List of contents
Contents: Christina Baade: «Something Extra for the Boys»: «Radio Girl Friends», the BBC, and Forces Broadcasting, 1940-1944 - James Deaville: Selling the War in Iraq: Television News Music and the Shaping of American Public Opinion - Peter Stachel: T-Shirts: Local and Global Connotations of a Deceptively Simple Piece of Textile - Michael Saffle: The Pleasures (and Problems) of «Merely Circulating»: The Vienna Philharmonic's Neujahrskonzerte - John C. Tibbetts: «An Unruly Completeness»: Fritz Lehner's Mit meinen heißen Tränen - Cornelia Szabó-Knotik: The Creator, the Plunderer, the Object and its Lovers: Austrian Global Musical Crossovers as a Floodgate of Significations across Times and Spaces - Srdja Pavlovic: My Beloved Landscape: Naming the Self in the Balkans - Susan Ingram: Running on Empty: Berlin as a Chronotope of Persistence in Run Lola Run - Andriy Zayarnyuk: L'viv über alles, an Eden for Intellectuals - Takenaka Toru: Foreign Sound as Compensation: Social and Cultural Factors in the Reception of Western Music in Meiji Japan (1867-1912) - Simon Wood: Paying the Piper: Mychael Danna's Music for The Sweet Hereafter - Markus Reisenleitner: Welcome to Class Europa: European Virtuosity and Global Virtuality in Mamoru Oshii's Avalon.
About the author
The Editors: Susan Ingram has a Ph.D. in Comparative Literature from the University of Alberta and is Coordinator of the European Studies program at York University. In addition to auto/biography, translation and fashion theory, she is also interested in the intersections of film and Europe.
Markus Reisenleitner has a Ph.D. from the University of Vienna. He is currently the Head of the Department of Cultural Studies at Lingnan University in Hong Kong. His areas of research include urban culture, theories of space and the environment, vernacular culture, and pre-modern Europe.
Cornelia Szabó-Knotik has a Ph.D. in Musicology from the University of Vienna and is Associate Professor at the Institute of Analysis, Theory and History of Music at the University of Music and Performing Arts in Vienna. Interested in the aesthetic content as well as the social and cultural importance of music, her main subjects are the history of music-life, the many phenomena of reception, including the importance of new media for the way the musical heritage is confronted.
