This book explores the contradictory development of gender roles in Central and Eastern Europe including Russia. In light of the social changes that followed the collapse of communism and the rise of new conservatism in Eastern Europe, it studies new forms of gender relationships and reassesses the status quo of female empowerment. Moreover, leading scholars in gender studies discuss how right-wing populism and conservative movements have affected sociopolitical discourses and concepts related to gender roles, rights, and attitudes, and how Western feminism in the 1990s may have contributed to this conservative turn. Mainly focusing on power constellations and gender, the book is divided into four parts: the first explores the history of and recent trends in feminist movements in Eastern Europe, while the second highlights the dynamics and conflicts that gained momentum after neoconservative parties gained political power in post-socialist countries. In turn, the third part discusses new empowerment strategies and changes in gender relationships. The final part illustrates the identities, roles, and concepts of masculinity created in the sociocultural and political context of Eastern Europe.

In the 20th century, jazz was an important artistic form. Depending on the particular European country, jazz music carried different social, political and aesthetic meanings. It brought challenges in the areas of racial issues, the politics of the Cold War between East and West, and in the exploration of boundaries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary and Poland, the situation began to change after 1956 and then 1968, when the ideologists shifted from the aesthetics of socialist realism to postmodernism. In Western countries such as France and Italy, jazz transformed from a modern to a postmodern period. This volume deals with the impact of these changes on the career development of jazz musicians - even beyond 1989 - in terms of various phenomena such as emigration, child prodigies, multiculturalism, multi-genre approaches, or female jazz musicians.

This book explores the contradictory development of gender roles in Central and Eastern Europe including Russia. In light of the social changes that followed the collapse of communism and the rise of new conservatism in Eastern Europe, it studies new forms of gender relationships and reassesses the status quo of female empowerment. Moreover, leading scholars in gender studies discuss how right-wing populism and conservative movements have affected sociopolitical discourses and concepts related to gender roles, rights, and attitudes, and how Western feminism in the 1990s may have contributed to this conservative turn. Mainly focusing on power constellations and gender, the book is divided into four parts: the first explores the history of and recent trends in feminist movements in Eastern Europe, while the second highlights the dynamics and conflicts that gained momentum after neoconservative parties gained political power in post-socialist countries. In turn, the third part discusses new empowerment strategies and changes in gender relationships. The final part illustrates the identities, roles, and concepts of masculinity created in the sociocultural and political context of Eastern Europe.

During the Cold War, jazz became a cultural weapon that was employed by both sides to advance their interests. This volume explores the history and roles of jazz in Poland, the German Democratic Republic (GDR), Czechoslovakia, Hungary, the Soviet Union, and the Baltic States by means of several case studies. The American administration attempted to destabilize the political systems of the Eastern Bloc countries, while the powers responsible for culture in the Eastern Bloc countries tried to curtail the US propaganda campaign. This resulted in distinct jazz traditions and jazz scenes, each governed by a distinct behavioural codex, as well as official responses in each of the Eastern Bloc countries.

Christian Schmidt-Rost vergleicht die Jazzszenen in der DDR und Polen und beschaftigt sich mit den transatlantischen Transferprozessen, in die sie eingebunden waren. Sein Buch gibt einen Einblick in den vielfaltigen Umgang mit der amerikanischen Musik Jazz im Kalten Krieg. Dabei werden die Handlungsspielraume von Herrschenden und Jazzern - Musikern, Organisatoren, Journalisten, Fans - in den beiden staatssozialistischen Gesellschaften untersucht und deren Wandel seit den 1950er Jahren nachvollzogen. Der Autor macht deutlich, wie es den Jazzern gelang, uber Medien, Verbande und Festivals blockubergreifende Kommunikationsraume zu etablieren, wahrend die Musik zugleich fur immer mehr Akteure zu einem Geschaft wurde. Seine Studie zeigt, wie Jazz im Kalten Krieg ebenso polarisierte wie verband.