Severe stress may precipitate transient, complex hallucinations, which the subject recognises as arising from his or her imagination.'8 19 Dissociative (conversion) phenomena may account both for these pseudohallucinations and for many spiritual and paranormal phenomena.820 A dissociative mechanism may also underlie memory flashbacks (which may be experienced as real2) in post-traumatic stress disorder.22 Dissociative experiences may even be normal.8 Isolated hallucinations may be common and normal perceptual errors and no more indicative of psychiatric illness than isolated illusions. But, whether we describe visions and voices as psychotic, dissociative, hypnagogic, or normal, uncertainties remain about their underlying psychophysiology and the relations between these seemingly very different states of mind.
The affective turn, which has already questioned dominant paradigms in many disciplinary fields including cultural studies, philosophy, political theory, anthropology, psychology and neuroscience, has started to attract more attention in the field of ethnomusicology, becoming a particularly vibrant stream of thought. Drawing on the voices that call for the historicisation of and critical deliberation on the field of affect studies, the article strives to show how theories of affect might expand dominant paradigms in ethnomusicology and also points to their limitations.
Article focuses on politically relevant aspects of practices of remembering socialism in post-Yugoslav context and offers an approach to memory that involves considering not only what is remembered and how, but also what are the implications of these remembrances, i.e. what is the potential of memory to support (or de-legitimize) political causes and enhance (or impede) civic participation. Looking at the example of Lepa Brena's public persona and her concerts during 2009, it examines the active usage of the Yugoslav past and highlights the significant capacity of music in that process. Through the lenses of the so-called personalized historical narrativity, the attention is given to the expression, shape and constraint of emotions associated with Yugoslav popular music and its social, cultural and political consequences within the post-Yugoslav societies
The idea for this special issue of Popular Music and Society was born out of a joint fieldwork project between the University of Cologne, Germany, and the Slovenian Academy of Sciences and Arts in Ljubljana. It was our common interest in the sounding memories of antifascism that brought us together in 2015. All of us had formerly inquired into musical memories of the World War II antifascist resistances, focusing on the distinct locales of the former Yugoslavia (Ana Hofman), Italy (Federico Spinetti), and Germany (Monika E. Schoop). With the support of the German Academic Exchange Service (DAAD) and Slovenian National Research Agency (ARRS) through a bilateral exchange program, our research focus expanded as we set out in 2017 to pursue the trajectories of antifascist music across borders-a topic that had received hardly any scholarly attention. Our joint research led us to the market square of Rijeka in Croatia, where we documented antifascist songs from different times and geo-cultural areas performed by the Pinko Tomažič Partisan Choir of Trieste (Tržaški partizanski zbor Pinko Tomažič/Coro Partigiano Triestino Pinko Tomažič). The choir was founded in 1972 and is named after a Slovenian antifascist activist and member of the Italian Communist Party killed in 1941. Our inquiry brought us to the outskirts of Trieste in Italy, where we attended staged performances and the collective singing of antifascist songs on a 1 May celebration organized by the Partito della Rifondazione Comunista (Communist Refoundation Party). We sang antifascist songs from Spain, Italy, Germany, and the former Yugoslavia at a communal singing session at the bar Weißer Holunder in Cologne, Germany, an event hosted by organizers of the Edelweißpiratenfestival, which commemorates youth resistance against the Nazi regime. We further traced transnational networks of persecution, inquiring into the fate of young Slovenian resistance fighters at the site of the former youth concentration camp of Moringen, in the vicinity of Göttingen, Germany, the camp to which also members of the Swingjugend (Swing Youth) from Hamburg were deported during World War II. Like other youth groups who refused to conform to Nazi ideology, these young people who listened to swing and jazz, and dressed in a distinct style that clearly set them apart from the Hitler Youth, were classified as subversive by the German secret police Gestapo (Lange). Our research stems from and indeed corroborates the perception that antifascism is a transnational phenomenon. Traveling across borders, the sounding memories of CONTACT Federico Spinetti
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