gegründet von Shulamit Firestone und Anne Koedt, hervorgingen. 1968 ging aus
einer Spaltung von NOW (s. u.) die New Yorker Gruppierung The Feminists
(Feminists – A Political Organization to Annihilate Sex Roles) hervor. 1969
wurde das New Feminist Theater in New York als eine der ersten feministischen
Theatergruppen der USA gegründet sowie die Gruppe Women Artists in Revolu-
feministische, genderkritische und queere
Switzerland. Whether the drive towards homogeneity is carried to extremes
by also striving for ethnic purity depends on the respective political regime.
As an example I would like to point to the relatively new nation states in
1 This article has been published in German in the book Die andere Hymne.
Minderheitenstimmen aus Österreich (see Hemetek 2005). It is here published
in English by courtesy of the publisher, Österreichische Dialektautoren.
former Yugoslavia and ‘ethnic cleansing’, a cynical concept that we heard
of far too
the Sorbonne in Paris, later took his PhD
from the University of Nijmegen (Netherlands) and has a habilitation
from Université Paris I. He has taught at the universities of Algiers, Paris
I (Panthéon-Sorbonne), Leiden, Nanterre (Paris X). He is now Emeritus
Professor of Moral and Political Philosophy at the University of Paris X
Nanterre and Distinguished Professor of Humanities at the University of
California, Irvine (USA). He also teaches seminars at the Centro Franco-
Argentino de Altos Estudios de la Universidad de Buenos-Aires (Argentina) and
. Bohlman, »Musicology as a
Political Act«, in: Journal of Musicology, 11 (1993), S. 411-436.
2 Mit Ausnahme der angelsächsischen Forschung siehe hierzu die referentiellen Publi-
kationen von Giorgina Born (Hg.), Music, Sound and Space. Transformations of Pub-
10 | SUSANA ZAPKE, STEFAN SCHMIDL
Literaturwissenschaft führen die Pionierarbeiten von Barbara Piatti und Franco
Moretti zu einer neuen Lesart literarischer Topographien ein.3 Abgeleitet vom
paradigmatischen Wechsel des topographical turn in den Kultur- und Sozialwis-
senschaften findet hier die Erschließung
, Lisa A. (1987). »Female Address in Music Video.« In: Journal of Communi-
cation Inquiry 11, Nr. 1, S. 73-84.
Lewis, Lisa A. (1987). »Form and Female Authorship in Music Video.« In: Communi-
cation 9, S. 355-377.
Lewis, Lisa A. (1990). Gender, Politics and MTV. Voicing the Difference. Philadel-
phia: Temple University Press.
Lewis, Lisa A. (1990). »Being Discovered. Female Address on Music Television.« In:
Jump Cut 35, S. 2-15.
Lewis, Lisa A. (1993). »Being Discovered. The Emergence of Female Address on
MTV.« In: Sound and Vision. The Music Video Reader. Hg. v
. For (larger) social spaces I suggest
‹radio thereness› to refer to radio’s ordering and reordering of public spaces; for
example, the political scene, the nation, and, internationally, the likes of the United
Nations’ discourse on international collaboration. To grasp the mediations be-
tween the two (ideally between place and space), I suggest the term ‹radio in
between›. It points to radio combining places and spaces by making the public
private and vice versa.1 This tripartite division supports the inherent dynamics of
what is close by and what is far away
for shopping, reading, finding information,
communication, playing, dating, and so forth. The border between the
virtual and the real often appears to be diffuse and unimportant.
Why did the Assyrians use the Internet earlier than many other possible
groupings? Maybe they had a better reason than most ethnic groups, being
a people without a political or geographical homeland. What, then, is
Assyria? Is it a region, a nation, or an organisation? Well, what is a nation,
exactly? What does it mean when some people call themselves Assyrians – a
concert halls, music restaurants, wedding parties, or in welfare and cultural
associations. Furthermore, the formal and non-formal transmission of
music at state or private schools of general education, and the informal,
private, familiar sphere play a significant part in integrating the adolescent
German-Turkish generation into processes of transmission and productions
of music in the future.
After the reunification of the ‘two Germanys’ in 1990, under the pressure
of social, political, economic and ethnic change, the musical life of the
, unlike “colo-
nialism” which means the structure of the administrative/military/political domination
performed during the period of imperialism, “coloniality” means the structuring process
42 | CHOI Yu-jun
The two sides of modernity, or the contradictory relationship between moder-
nity and coloniality reinforce numerous contradictions, particularly regarding na-
tionalism in a postcolonial country such as South Korea. For instance, the pre-
sumption of a Korean peculiarity, such as the “Korean identity,” causes a centrip-
etal force that calls for homogenization
whenever existing orders dissolve,
clash, implode, melt down or break up. In her support of a »politics that
involves disorientation« (ibid.: 569), she formulates strategies for how this
kind of politics could be executed with one example being to render a familiar
form strange or even uncanny, and to me this is one way of achieving disori-
entation through music videos. However, we generally have to think about a
broader spectrum of potential disorientations that could emerge in music vid-
eos, for example through processes of spatial/physical/temporal deferral