Autorka: Tereza Kuldova
The article asks a question that may, at first sight, appear rather simple. Namely, what is the nature of solidarity among outlaw motorcycle clubs and how does it differ from so-called ‘brand communities’, a concept popular in consumer culture studies and marketing, pointing to the ability of brands to serve as a new potent means of identification essential to the formation of communities. To answer this, we must ask: what are the limits of the brand community? This question is investigated here through a juxtaposition of the subculture of outlaw motorcycle clubs and possibly the most notorious brand community – Harley Owners Group (HOGs). Membership in the former depends on a long period of trial, and is reserved only to those who are ritually initiated into the club following successful completion of their trial period – membership cannot be bought and the logo of the club, it's brand, is both sacred to the members and inalienable; people are willing to die for it and to kill for it. On the other hand, membership in HOG’s ultimately depends on a purchase, even if it cannot be reduced to it. It is argued that this has profound effects on the nature of solidarity and community that emerge: on one hand, a greedy institution which produces a sacred, on another, a weak brand community, a semblance of the Real.
Autoři: Jamela Homeyer, Julia Leser, Tobias Neidel, Florian Spissinger
This paper draws on ethnographic fieldwork to analyse the ‘master narrative of resistance’ that is governing the activities of the German far right. The ‘resistance narrative’ came into effect during the 2018 Chemnitz riots. Yet the topos is being appropriated by a variety of actors on the far right. The paper exemplifies the significance of far-right political narratives and affects on current developments and tendencies of German far-right groups, among them far-right initiatives such as Pro Chemnitz, far-right protest movements such as PEGIDA, and the German spin-off of the French yellow vests’ movement. When analysing these groups’ uses of narrative and affective elements in terms of the ‘resistance topos,’ the paper elaborates the semantics, performances, and functions of a narrative that seems to constitute a common denominator of distinct groups and agents of the far right. In 2018 and 2019, we followed in particular the developments in the wake of the Chemnitz racist riots using ethnographic methods and conducted participant observations and conversations with various agents of the far right that share the ideological aspects of nationalism, xenophobia, authoritarianism, and welfare chauvinism. A constant practising, performing, and narrating of the ‘resistance topos’ enables activists on the far right to frame their cause, collective actions, and their (individual and group) identities in a particular manner. We argue that the ‘resistance narrative’ has to be understood as a part of the far right’s politics of affective attachment, attunement, and belonging that aims at furthering their social acceptability.
Autorka: Jovana Đurić
This paper questions the linkages between turbofolk and politics in Serbia in the 1990s. turbofolk, as a music genre, is mostly understood as “a soundtrack” of Milosevic’s regime, as a symbol of the Serbian side in the civil war in Yugoslavia and as a cultural product of the time. But, the views on how much and Serbian politics came to be intertwined in the 90s differ. In order to study these differing perceptions, I used interviews and participant observation as a research method. I interviewed two target groups. The first was recruited from a generation born in the 50s and 60s, and the second from those born in the late 80s and 90s. Their respective understandings of turbofolk turned out to be very different; this in turn proved crucial for understanding the roots and dynamics of turbofolk. The older generation has associated turbofolk predominantly with the politics of the 90s and with nationalistic tendencies, whereas the younger generations have perceived it as an integral part of the country’s culture. Since the 90s, turbofolk has not disappear but transformed, and it is still very popular in Serbia. I have conducted participant observation in clubs and bars where turbofolk is consumed today. These interviews and observations led to the conclusion that even though turbofolk was a great part of the culture in 90s and had a significant role in the propaganda of Milošević’s regime on several occasions, the genre itself has much older roots and represents a more general Yugoslavian cultural heritage where Serbian politics of the 90s play just minor role. The paper explores the way in which the memory of different generations of Serbs has shaped their perceptions of this genre.
Autoři: Jiří Kohoutek, Jan Slavíček
Předkládaný příspěvek se zaměřuje na možnosti uplatnění konceptu totalitarismu při analýze reálně existujících politických režimů. Navrhuje postup zohledňující kombinaci tři analytických úrovní (ideologie daného režimu, jeho záměry a realita jeho fungování) a přítomnosti, ať již reálné nebo potenciální, určitých charakteristických rysů či znaků obecně považovaných za atributy totalitárních politických systémů, na jejímž základě je možné konkrétní režimy charakterizovat jako totalitární či nikoli, přičemž důraz klade na roviny záměrů a reality. V závěru se soustředí na případovou studii Československa v letech 1963–1967, na kterou aplikuje výše nastíněnou metodu a dospívá k závěru, že se – navzdory jeho slábnutí – jednalo stále ještě o totalitární režim.
Autor: Václav Soukup
Předmětem studie je teoretická analýza proměn potravní strategie lidského rodu v evoluční perspektivě. Zvláštní pozornost je věnována vlivu rostlinné a živočišné potravy na vývojové proměny lidského těla v období pravěku a důsledkům neolitické revoluce pro lidské zdraví. Cílem studie je prokázat, že potravní strategie v průběhu evoluce našich předků limitovala, stimulovala a determinovala proměny lidského těla a dodnes ovlivňuje lidské zdraví.
Autorka: Lucie Olivová
Tato studie se zabývá opomíjeným a zároveň ojedinělým jevem, kterým je výmalba interiérů znázorňující tzv. delftský keramický obklad. Je založena na průzkumu osmi interiérů v sedmi zámcích z 18. století. Všímá si souvislosti tzv. delftských kachlů s módou chinoiserií, jelikož většina zkoumaného materiálu aspoň částečně zpodobňuje čínské náměty.
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