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(NYRF), 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

state of 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. 104 Ursula Hemetek 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 the Center

. 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 people? ‘Cyberland

in 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 Turkish

, 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