The Austrian national elections of 1999 and the subsequent government formation in 2000 sparked a wave of protests, both at home and abroad, due to the inclusion of the extreme-right populist Freedom Party of Austria (FPÖ) into the coalition. This article examines a body of protest music (ranging from heavy metal, rock and punk, to mock-choral and microtonal) that came about between 1999 and 2004 as a direct response to the turn in Austrian politics towards the extreme right. In interrogating this protest music I discern an important and hitherto underresearched facet of identity-(de)construction in Austria's artistic self-expression. It suggests a highly politicized counter-image to the usual, musically inspired representations of Austria, the land more readily associated abroad with Mozart and Haydn, the Vienna boys' choir, waltzing and yodelling. The music here is interrogated for the textual and musical strategies it deploys, and the spaces and icons of protest performance are probed for their efficacy and for the political interventions that they engender.
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This essay examines common ground between two recent novels: Die Wahl (2003) by Erika Pluhar and Jessica, 30. (2004) by Marlene Streeruwitz. 1 Both writers' women protagonists have lovers who are politicians, and both texts engage with Austrian politics, set as they are against the backdrop of the growing acceptability of populist, right-wing politics in contemporary Austria. These modern 'Entwicklungsromane' show the development of a sense of resolve in their respective protagonists. Where Pluhar's novel makes playful reference to trivial literature conventions at a diegetic level only, Streeruwitz uses and manipulates the format of a popular literary formthe woman's novel, or 'chick-lit' novel -to assist her in interrogating political events in Austria at the time of the novel's setting. Despite their outward appearance as trivial romance stories, both novels have strong political agendas.Dieser Aufsatz sucht nach Gemeinsamkeiten zwischen zwei zeitgenössischen Romanen: Die Wahl (2003) von Erika Pluhar und Jessica, 30. (2004) von Marlene Streeruwitz. Die Protagonistinnen beider Romane haben einen Politiker als Liebhaber, beide Texte befassen sich mit derösterreichischen Politik, denn sie spielen vor dem Hintergrund der zunehmenden Salonfähigkeit rechtspopulistischer Parteien inÖsterreich. Diese modernen Entwicklungsromane zeugen von einer wachsenden Entschlossenheit der zentralen Figuren. Während Pluhar sich nur im diegetischen Bereich auf Konventionen der Trivialliteratur anspielt, macht sich Streeruwitz eine populäre Form -den Frauenroman oder die Chick-lit -zu eigen, und bedient sich dieser bei ihrer Untersuchung der politischen Ereignisse inÖsterreich zur Zeit des Romangeschehens. Trotz deräußeren Erscheinung als Liebesromane legen beide Texte großen Wert auf politisches Hinterfragen. ROMANCING THE ELECTION? ERIKA PLUHAR'S DIE WAHL (2003)Erika Pluhar is primarily known for her highly successful career as an actor and singer, a career that she and the protagonist of her 2003 novel have left behind in order to pursue other ambitions. The crossovers between the author's biography and the events and characters of the novel do not stop 1
When the extreme-right, populist Freedom Party (FPÖ) and the Austrian People's Party (ÖVP) formed a coalition government in February 2000 there was wide-spread international outcry, with the European Union placing sanctions on its co-member country pending an investigation into the party and its practices. In Austria itself, protest manifested itself in acts of regular street demonstrations and public debates, but artists, too, expressed their resistance to the new coalition government in a variety of forms. This article discusses a dozen short films from the series, 'Die Kunst der Stunde ist Widerstand'/'The Art of the Day is Resistance' and explores the range of different aesthetic responses by film-makers in the series. The series offers far more than simply documents of the unrest. Instead, it provides extensive and innovative stimulus for critical engagement.
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