Journal articles on the topic 'Antisemitism in music'

ABSTRACT: Stravinsky considered himself a maker, a Homo faber, an artisan of the past. He confessed that he liked to compose music more than music itself, and argued that expression was not an immanent character of music. With this paper, I intend to discuss Stravinsky's musical aesthetics (the Charles Eliot Norton Lectures given right after the outbreak of WWII –Poétique musicale), depicting and criticising his notion of expression and his view of the musician as mere “executant”. I will also point out some biographical details (the controversial premiere of Le Sacre du printemps and Stravinsky's antisemitism) while criticising Adorno's harsh critique of Stravinsky's music.

AbstractThe article investigates the importance of ‚blacklists‘ as a tool of Fascist and National Socialist racial policy in the field of music. It critically examines the radicalizing effects that National Socialist antisemitism exerted on Fascist racial policy, which has often been described as yielding to German pressure. In fact, Fascist leaders demonstrated their will to cooperate on the ‚Jewish question‘ very early, though Fascist antisemitism never reached the exterminatory dimensions of the Nazi Holocaust. Already in 1936, cultural policymakers were working towards the goals of their German allies, taking initial steps to discriminate against Jewish musicians long before the Racial Laws were introduced in 1938. Various documents recently discovered in the historical archives of the Accademia Nazionale di Santa Cecilia in Rome also highlight the pivotal role of musical institutions and their rich documentation in the investigation of cultural policy under Fascist rule, especially since the vast majority of the official records belonging to central institutions like the Italian Propaganda Ministry must be considered lost.

This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Shel Silverstein came to the fore and substantially reshaped country music, and a phase from the 1980s to early 2000s when an instrumental-focused klezmer-bluegrass fusionism was central to constructing a Jewish-country identity. A longer, final section explores the more recent, religiously-themed country and bluegrass of performers such as Mare Winningham, Nefesh Mountain, and Joe Buchanan, and argues that Jewish country and bluegrass has taken an important liturgical turn.

This paper is an exploration of the ideology of National Socialism in the work and activity of the German terrorist group and Black Metal band Absurd. Historians are divided—and many have criticized how postwar Germany dealt with denazification—, but the fact is that Nazi ideology has been part of the political and social spheres in Germany since then. Neo‑Nazism saw a revival especially in the first years after unification, which coincided with the beginning of Absurd’s story and career. Today, they hold the title of the National Socialist Black Metal act par excellence, with a 28‑year music career actively supporting and promoting Nazi ideology. Absurd makes a very interesting case study, since the band has played a key role in preserving and transmitting Nazi ideology, not just in Germany, but also worldwide.

AbstractIn his essay “La judéité dans la musique,” Richard Wagner’s horrid portrayal of a Jew by way of physical, economical, linguistic and musical description exposed his anti-Semitic convictions. Much of this aspect has either been forgotten or softened, however, when evoking Wagner, it is in fact the relationship between his anti-Semitism and his work that is the most problematic. This paper proposes to consider three symbolic forms through which this reticence is expressed by looking at the the theoretical writings, opera booklets and their music. Using the Beckmesser character in Les Maîtres Chanteurs de Nuremberg, although Beckmesser is not introduced as a Jew but rather a good German bourgeois, one cannot deny the allegory positioning him as a Jew. First element of demonstration: the analogical resemblance between Beckmesser and the Viennese music critic Eduard Hanslick to whom Wagner accused of hiding his Jewishness. Second element: it has already been proven that Beckmesser’s serenade sung during the second act to the Master Singers was a mockery of a Jewish prayer. Third element: in Cosima’s, Wagner’s wife, diary she explains that this particular piece generated at that time a strong reaction by the Jewish community in Vienna, thus supporting the claim that his antisemitism was already known and problematic to his contemporaries.

Abstract: In 1980–1981, the American choreographer John Neumeier, director of the Hamburg Ballet since 1973, created a ballet to Bach's St. Matthew Passion . Aware that choreographing a revered icon of sacred music might be viewed as a violation of its sacrosanct status, he expressed his belief that "A choreographic realization of the Matthew Passion only appeared justified to me if it gives a new, unique dimension to the work … [and that like music] dance offers a means of escape from the grip of time and history to achieve inner reflection and a psychic state." In this essay, we discuss representative sections of the ballet and explore Neumeier's realization of these goals. Sometimes he focuses on visualizing a movement's structure and enhancing its affective and dramatic impact with contemporary ballet choreography. In other movements, he employs eclectic modern dance styles that, while contrasting in striking ways with the music, also enhance it. Both approaches inspire new dimensions and inner reflection. Ultimately, the choreography represents a visual corporeal transcription of the score and its timbres, which, without altering them, contributes new aesthetic perspectives. Our choreo/musical analysis will also address relationships between the ballet and issues in subsequent musicological scholarship, including aspects of Bach's performance practice, his cyclical versus linear approach to time, his occasional composition of works that threaten to stretch performers beyond their limits, and concerns about antisemitism in the turbae. The Hamburg Ballet has performed Matthäus-Passion , which has become one of Neumeier's most important and signature creations, throughout Europe, as well as in Japan, China, Canada, and the United States. The ballet reveals new and unexpected dimensions and affective experiences to audiences already familiar with the St. Matthew Passion and introduces it in a compelling manner to those who have never experienced one of Bach's most esteemed works.

Protection of natural culture in concepts of the contemporary National Right Wing in PolandIn the centre of the system of values of the National Right Wing which revived after 1989 there are still nation, family and religion. The nation as community of culture is in opinion of the said parties exposed to dangers. The main risks are in their opinion as follows: cosmopolitism, Communist ideology, individualism, liberalism; secularization.In Poland, such ideas are, in the opinion of the National Right Wing, propagated by the liberal and post-communist circles. In the beginning they demanded that the communist activists are brought to justice. Some columnists refer to antisemitism. They perceive also the fall of the literary output. They assess critically the novels of Czesław Miłosz, Stanisław Barańczak or Olga Tokarczuk. Similar assessments regard the works of Polish historians. As preventive measures the following is mentioned: appropriate educational activity, statutory protection of national heritage, broadening of Catholicism, promotion of national culture. They attach great importance to the national branding. Its components are history, language, political regime, architecture, literature, art, religion, icons landscape, music. They would probably accept the opinion of Michael Porter: “Many contemporary discussions of international competition stress global homogenization and a diminished role for nations. But, in truth, national differences are at the heart of competitive success.” Ochrona kultury narodowej w koncepcjach współczesnej prawicy narodowej w PolsceW centrum systemu wartości odrodzonego po 1989 roku ruchu narodowego pozostają naród, rodzina i religia. Naród, traktowany jako wspólnota kultury, narażony jest w ocenie wspominanych wyżej środowisk na liczne zagrożenia. Za najgroźniejsze uznają one: kosmopolityzm, ideologię komunistyczną, indywidualizm, liberalizm, sekularyzację. W Polsce wspomniane idee mają być propagowane przez środowiska liberalne i postkomunistyczne. W wypowiedziach publicystów narodowych pojawiają się także akcenty antysemickie. Krytyczna ocena dotyczy też współczesnej polskiej literatury, a zwłaszcza twórczości Czesława Miłosza, Stanisława Barańczaka czy Olgi Tokarczuk. Podobne oceny odnoszone są do prac polskich historyków. Za istotną uznano więc puryfikację kultury narodowej. Wśród środków zaradczych środowiska narodowe proponują: rozwój edukacji historycznej, ochronę dziedzictwa narodowego, rozwój katolicyzmu i promocję kultury narodowej. W tym ostatnim wypadku za niezwykle ważny uznają one branding narodowy. Jego podstawowe składniki to historia, język, architektura, krajobraz, reżim polityczny itp. Polscy narodowcy zapewne zaakceptowaliby opinię sformułowaną przez Michaela Portera. Twierdzi on, iż co prawda nastąpiła globalna homogenizacja, ale podkreślanie odrębności narodowej jest źródłem sukcesu.

Max Bruch was one of the most successful German composers of the 19th century. It was only towards the end of the century that his music increasingly lost of its appeal with audiences who turned toward more modern composers (Strauss, Mahler, Reger). Disappointed at the growing number of compositional failures, Bruch began to sympathize with anti-Semitic thought which had been spreading in Berlin since the 1870s. It seems particularly paradox that, in a letter written in 1902 to his publisher Simrock, Bruch attacked three Berlin musicians with brutal anti-Semitic invectives, who had been his best and most loyal friends for decades, and to whom he owed decisive contributions to his compositional career: Joseph Joachim, Friedrich Gernsheim and Siegfried Ochs. Although in this partivular case the anti-Jewish statements of the composer were triggered by dashed hopes for performances and publications, and although his bitter outburst was deeply rooted in his particular personality structure, Max Bruch can be regarded as the exemplary case of the "bourgeois" anti-Semitism of the imperial era.

Am 23. Mai wurde mit der Uraufführung von „Der Sänger“ in der Regie von Armin Petras das jüdische Theaterschiff „MS Goldberg“ eröffnet. Die Crew hat sich zum Ziel gesetzt, mit Theater, Musik, Film, Lesungen, Talkrunden und Education-Projekten für Jugendliche gegen Antisemitismus, Rassismus und Fremdenfeindlichkeit zu wirken. Noch liegt das Schiff in Berlin-Spandau, wird aber bald die Leinen losmachen, um auch an anderen Orten seine Mission zu erfüllen. von Julia Röseler

The fin de siecle was a transformative period for gender identity in Austro-Germany. As women gained more social and sexual independence, many men began to suffer a crisis of masculinity. Gustav Mahler was no exception. Issues of gender identity, sex, and masculinity are woven into the composer’s biography. Mahler’s relationship with masculinity is further complicated when contextualized within his Jewish heritage. Otto Weininger’s Sex and Character of 1903 chided Jewish men for their inherent femininity and added a new, gendered dimension to antisemitic criticism. Attempting to escape this presumed Jewish effeminacy, Mahler became celibate and adopted a lifestyle that mirrored the values of the Körperkultur movement which promoted pure, Christian masculinity to counter the rise of the new, sexually liberated Viennese woman. Musically, Mahler looked to works such as Wagner’s Parsifal, which acted as a gendered religious parable for the triumph of chaste masculinity over the inherent corruption and degeneracy of women. Gustav Mahler therefore becomes a privileged space for the examination of gendered Jewishness in the rapidly changing landscape of fin-de-siècle Vienna.

From time to time the question has been raised: ‘Is the character of Beckmesser an embodiment of Wagner's notorious anti-semitism?’ Theodor Adorno, who stated with reference to Beckmesser, Alberich and Mime that ‘all the rejects of Wagner's works are caricatures of Jews’, is frequently invoked, but the question is generally brushed aside, or answered summarily in the negative. Yet neither Adorno nor, to my knowledge, anyone else has examined the question in the depth it deserves. A fuller investigation of the evidence leads, I submit, to the conclusions that anti-semitism is woven into the ideological fabric of Die Meister-singer, and that the representation of Beckmesser incorporates unmistakable antisemitic characteristics. If this is indeed the case, then the implications for our understanding of the opera are profound.

Tonsättaren, radiomedarbetaren och musikern Hans Holewa (1905–1991) anlände till Sverige 1937 som landsflyktig undan den tilltagande antisemitismen i Wien, drygt ett halvår innan Österrike annekterades av Nazityskland. Som invandrad radikal tonsättare med den så kallade tolvtonstekniken som utgångspunkt, med judiskt påbrå och med engagemang inom vänsterrörelsen kom Holewas svenska exiltillvaro utgöra ett spänningsfält med många dimensioner. Följande artikel tar utgångspunkt i två aspekter kopplade till Holewas exiltillvaro, dels Holewa som representant för en radikal musikestetik, dels hans relation till det judiska. Framställningen kretsar kring frågor om hur Holewa mottogs i det svenska musiklivet i relation till hans estetiska förhållningssätt och hur hans situation kan förstås med utgångspunkt i termen ”exilens dubbelhet”. En tredje frågeställning berör vilken betydelse den judiska kulturen hade för hans exiltillvaro och tonsättarskap. * * *‘We already have enough Jews here’: composer Hans Holewa and the doubleness of exile • The com­poser and musician Hans Holewa (1905–1991) arrived in Sweden in 1937 after fleeing from the Nazi-influenced Austria. The following article focus on two aspects linked to Holewas exile; Holewa as a representative of a radical musical aesthetics, and his relationship to his Jewish background. The article revolves around the question of how Holewa was received in the Swedish music life in relation to his aesthetic approach and how his situation in exile can be understood by reference to the term ‘exile duality’. A third issue concerns the significance of his Jewish loyalty during exile and in his composing. The article shows how the exile could serve both as an interruption, for example in relation to his Jewish loyalty and compositional technique, but also as an expression of continuity as he was a bearer of a modern aesthetic attitude which he formulated in Austria but which had higher relevance in his Swedish exile, however, not without some opposition from the Swedish music establishment. ""

Abstract The miniseries Hotel Polan und seine Gäste tells the story of three generations of a Jewish family of hoteliers in Bohemia from 1908 to National Socialist persecution. Produced by GDR television in the early 1980s, the series was subsequently broadcast in other European countries and met with a mixed reception. Later on, scholars evaluated it as blatantly antisemitic and anti-Zionist. This essay seeks to re-evaluate these prerogatives by centring the analysis of the miniseries on a close reading of its music—a method not often used in Jewish studies, but a suitable lens through which to interrogate the employment of stereotypes, especially in film, and in light of textual sources from the Cold War era often being reflective of ideologies rather than facts. Employing critical theories of cultural studies and film music, it seeks to identify stereotypes and their dramatic placement and to analyse their operation. It asserts that story, image, and sound constitute both synchronous and asynchronous agents that perpetuate various stereotypes associated with Jews, thereby placing Hotel Polan in the liminal space of allosemitism. Constructed through difference from a perceived norm, Hotel Polan ultimately represents a space in which the egregious stereotype and the strategic employment of types meet. Its deployment of Jewish musical topics specifically shows that it is less their dramatic function that is of relevance, but the discourse that they have the power to enable.

Andrei Markovits, Uncouth Nation: Why Europe Dislikes America (Princeton: Princeton University Press, 2007).Reviewed by Jeffrey AndersonNorman J. W. Goda, Tales from Spandau: Nazi Criminals and the Cold War (Cambridge: Cambridge University Press, 2007).Reviewed by Anne Sa’adahSheri Berman, The Primacy of Politics: Social Democracy and the Making of Europe’s Twentieth Century Cambridge: Cambridge University Press, 2006).Reviewed by Susan E. ScarrowLars Rensmann, Demokratie und Judenbild: Antisemitismus in der politischen Kulturder Bundesrepublik Deutschland (Wiesbaden: VS Verlag für Sozialwissenschaften, 2005).Reviewed by Andrei S. MarkovitsBrian Currid, A National Acoustics: Music and Mass Publicity in Weimar and Nazi Germany (Minneapolis: University of Minnesota Press, 2006).Reviewed by Celia ApplegateSteven E. Aschheim, Beyond the Border: The German-Jewish Legacy Abroad (Princeton: Princeton University Press, 2007).Reviewed by Tobias BrinkmannPieter M. Judson, Guardians of the Nation: Activists on Language Frontiers of Imperial Austria (Cambridge: Harvard University Press, 2006).Reviewed by Ian ReifowitzSuzanne Marchand and David Lindenfeld, eds., Germany at the Fin de Siècle: Culture, Politics, and Ideas (Baton Rouge: Louisiana State University Press, 2004).Reviewed by Steven Beller

”Black Man’s Music”: Name Changes and Identity Negotiation among Finnish Jewish Jazz Musicians during 1920s – 1940s Many name changes of Jewish performing artists in Finland during the 1920s–1940s raise questions about the status of musicians from ethnic minorities and the boundaries of entertainment industry. In this article, I examine, on the one hand, the creating of an image of a ”Finnish” or ”American” jazz musician by name changes, and on the other hand, the concealing of one’s own ethnic origins in an occasionally xenophobic and antisemitic atmosphere. I also analyse how they have negotiated their musician identity in terms of Finnishness, Finnish Swedishness, Jewishness and African American jazz. As examples I use the five siblings of the Manulkin family and Jaakko Furman in Helsinki because of their prominent position and because in their cases the discussed phenomena are clearly visible. The Manulkin siblings took American-style names on their own initiative and Furman a Finnish name at his employer’s requirement. In the Manulkin case the name changes allowed them to create a musician image in harmony with the genre they represented. Their name changes also illustrate how Jewish musicians tried to adapt to the pressure of the time, at the same time wanting to preserve the integrity of their ethnic and cultural identity. When negotiating his identity in interviews, Furman does not bring up his Jewish background as he does with his identity as a Finnish Swedish speaker. His ethnic background is only reflected on the interviewers’ initiative when discussing the prominent role of Jewish musicians in the field of jazz and the xenophobic atmosphere of the Second World War. In interviews, Furman identifies himself more with Swedish speaking swing musicians than as a representative of Jewish jazz musicians in Finland or as a member of the Jewish community. He emphasises how jazz music provided Finnish Jewish musicians with a more tolerant community and atmosphere that rose above discrimination.

The variable examines which political topics are prevalent in fictional entertainment. Studies differentiate either between the two categories political and sociopolitical issues (e.g., Eilders & Nitsch, 2015) or they take a closer look at the presented political topics by differentiating between the three thematic dimensions of politics: polity for the institutional and normative infrastructure, policy for particular political issues, and politics for competition and power relations (e.g., Nitsch et al., 2019; Nitsch & Eilders, 2015). Field of application/theoretical foundation The differentiation between the three dimensions of politics goes back to political science and allows insights into which picture of politics is presented in the media. Analyses show that fictional (and non-fictional) media content tends to have a strong focus on the dimension of politics, i.e. movies and TV-series typically concentrate on negotiation processes between the parties and the power struggle between political camps (e.g., Jandura et al., 2016; Nitsch & Eilders, 2015; Nitsch et al., 2019). References/combination with other methods of data collection --- Example study Nitsch & Eilders, 2015 Information on Nitsch & Eilders, 2015 Authors: Cordula Nitsch & Christiane Eilders Research interest: depiction of politics (centrality of politics, topics, actors, political actions) in political dramas of two different countries (US and Germany) Object of analysis: two political dramas (“The West Wing”, US; “Kanzleramt”, Germany) Timeframe of analysis: 2004-2005 Information about variable Variable name/definition: Politische Themen [political topics] Pro Szene können bis zu drei politische Themen codiert werden, nämlich jeweils ein Thema aus den drei Bereichen polity, policy und politics. Eine Codierung von zwei Themen innerhalb eines der Bereiche (z.B. zwei policy Themen) ist NICHT möglich. In einer Szene, in der mehrere Themen durcheinander eingeworfen werden (z. B. eine Gruppe von Menschen redet durcheinander), muss folglich das zentrale Thema bestimmt werden. Lässt sich nicht bestimmen, welches das dominanteste Thema ist, wird das erstgenannte codiert. Politics, policy, polity wird ausschließlich für den eigenen nationalen Kontext codiert. Außenpolitik wird als nationale policy codiert. Justizthemen werden meist im Bereich polity codiert; außer es wird Handlungsbedarf für die Politik artikuliert, dann werden diese Themen als Rechtspolitik bei den policies codiert. [Up to three political topics can be coded per scene, namely one topic each of the three dimensions polity, policy and politics. The coding of two topics within one of the dimensions (e.g. two policy topics) is NOT possible. In a scene where several topics are addressed (e.g. a group of people talking), the central topic must be determined. If it is not possible to determine which is the most dominant topic, the first one is coded. Politics, policy, polity is coded exclusively for its own national context. Foreign policy is coded as a national policy. Justice issues are usually coded in the area of polity; unless the need for political action is articulated, in which case these topics are coded as legal policy in the policies.] Level of analysis: Szenenebene Scale level: Nominal Reliability: .83 (polity .70, policy .96, politics .84) V10 [THEMA-polity] Polity (Strukturen und Institutionen) 0 kein polity Thema angesprochen 101 Bundesrat (USA: Senat) 102 Bundestag (USA: Congress) 103 Parlamente 104 Parteien bzw. Fraktionen (nur, wenn es um die Strukturen geht, aber nicht, wenn nur Parteien oder Fraktionen genannt werden!) 105 Regierung/ Regierungssysteme 106 Andere politische Institutionen 201 Internationale Richtlinien/ Internationale Abkommen und Regelungen 301 Gewaltenteilung 302 Föderalismus 303 Verfassung/-sgrundsätze / Zentrale Verfassungsprinzipien 304 Gesellschaftsordnung 401 Entscheidungsfindung/ Verfahrensordnung (sofern nicht ein Gremium bei den 100er Ausprägungen bezogen: Warum gibt es einen Vermittlungsausschuss? Regeln und Infrastruktur der Entscheidungsfindung  Erklärungen über Abläufe) 402 Politische Kultur: Normen und Sitten (für die Stabilität des politischen Systems, z.B.: Sind Parteispenden Kavaliersdelikte…) 403 Bürokratie/ Verwaltung 501 Gerichte (Judikative) 502 Gesetze und Rechtsnormen/ Grundgesetz 503 Bürgerrechte 504 Menschenrechte 505 Öffentliches Recht (Völkerrecht, Staatsrecht, Sozialrecht usw.) 506 Strafrecht (Strafgesetzbuch) 507 Zivilrecht (Erbrecht, Familienrecht, Schuldrecht usw.) 600 Polity in anderen Ländern 999 Sonstige Strukturen und Institutionen V11 [THEMA-policy] Policy (Politikbereiche) Die Zuordnung einzelner Politikthemen zu den aufgeführten Bereichen ist kontextabhängig. So kann z.B. Drogenpolitik je nach Fokus unter Sozialpolitik, Arbeitspolitik oder Gesundheitspolitik verortet werden). Beim Thema Antisemitismus ist eine Zuordnung unter Diskriminierung möglich (wenn es um Antisemitismus allgemein geht) oder unter innere Sicherheit (wenn es um kriminelle Energie geht) oder unter Rechtspolitik (wenn ein Verfahren wegen antisemitischer Gewalt thematisiert wird). 0 kein policy Thema angesprochen 101 Außenpolitik (diplomatische Beziehungen, Konflikte usw.; Achtung: Hier wird nur das codiert, was nicht unter Verteidigungspolitik fällt; Außenpolitik wird auch codiert, wenn spezifische policies angesprochen werden, wie z. B. die Medienfreiheit in Ungarn oder die Bildungspolitik in Italien) 102 EU-Politik (Institutionen, Erweiterung europäische Integration) 103 Entwicklungspolitik 104 Politik in anderen Ländern (nur, wenn keine Beziehung zu D bzw. USA) 105 Verteidigungspolitik (betrifft „äußere Sicherheit“ wie Bundeswehr, NATO, Abrüstung) 201 Innere Sicherheit (Terrorismus, Verfassungsschutz, Polizei, Links- und Rechtsradikalismus) 301 Bildungs- und Forschungspolitik (Hochschulpolitik, Lehrpläne, Technikentwicklung, ggf. Kindergärten-/Kindergartenknappheit  sind je nach Kontext aber auch als Sozial- oder Familienpolitik denkbar) 302 Kulturpolitik (Film, Theater, Musik) 303 Medienpolitik (Meinungsfreiheit, Inhalte) 401 Sozialpolitik (Achtung: Sozialpolitik wird nur codiert, wenn keine Zuordnung zu detaillierteren Bereichen wie Familien- oder Rentenpolitik möglich ist; ansonsten fallen hierunter z.B. Armut, Reichtum, Sozialabbau, Kinderarmut, Hartz4, Demografischer Wandel, Obdachlosigkeit) 402 Familienpolitik (Familie, Ehe, Scheidung, Erziehung, Kindergärten, Väterrechte) 403 Jugendpolitik 404 Rentenpolitik 501 Gesundheitspolitik 502 Drogenpolitik 503 Lebensmittelpolitik 504 Verbraucherschutzpolitik 601 Umwelt- und Klimapolitik 602 Energiepolitik 603 Agrar- und Forstwirtschaftspolitik 604 Infrastrukturpolitik (Wohnungsbau/Mietrecht/Eigentum, Städtebau, Post- und Fernmeldewesen) 605 Verkehrspolitik (Straßenbau, Schifffahrt, Luftfahrt, Schienenwege) 701 Arbeitspolitik (soziale Sicherung, Recht auf Arbeit, Tarife- und Lohnpolitik, Gewerkschaften, Arbeitsschutz, Arbeitnehmerrechte, Beschäftigungspolitik, Sexismus/sexuelle Belästigung am Arbeitsplatz, berufstätige Mütter, Diskriminierung am Arbeitsplatz, Arbeitslosigkeit) Wenn Wirtschafts- und Arbeitspolitik innerhalb einer Szene gleichwertig sind, wird Arbeitspolitik codiert. 702 Wirtschaftspolitik (Unternehmertum, Wirtschaftsförderung) 703 Finanzpolitik (Subventionen, Steuerpolitik, Haushalt, Geld- und Währungspolitik) 801 Rechtspolitik (Gesetzgebung, Grundrechte, Strafrecht, Kriminalität) 901 Migrationspolitik (Einwanderungspolitik, Ausländer- und Flüchtlingsfragen, Integrationsfragen, Migration) 902 Minderheitenpolitik (z.B. Diskriminierung, ethnische Minderheiten, Rassismus, Antisemitismus, religiöse Minderheiten, Homosexuelle, Menschen mit Behinderung) 903 Asyl 999 Sonstige Politikbereiche V12 [THEMA-politics] Politics (Wie wird etwas durchgesetzt? Diskussionen/Kämpfe; auch wenn es nicht um Parteienstreit im engeren Sinne geht, also auch bei außenpolitischen Verhandlungen) 0 kein politics Thema angesprochen 10 Abstimmungen/Entscheidungsverfahren (Darstellungen des Prozesses) 11 Ausschussarbeit 12 Parlamentsarbeit (große/kleine Anfragen, Anhörungen) 13 Gesetzgebungsverfahren 14 Gipfelkonferenzen 15 Untersuchungsausschuss 16 Sonstige politische Auseinandersetzungen 20 Bildung von Interessenskoalitionen 21 Interessenvermittlung/-artikulation/-auswahl/-bündelung/-durchsetzung 22 Kampf um Entscheidungsbefugnis/ Legitimationsbeschaffung durch Verhandlungen 23 Koalitionsverhandlungen 24 Kompromisssuche/Konsensfindung 30 Lobbyismus/ Überzeugungsarbeit von außen 31 Öffentlichkeitsarbeit/ Pressekampagnen/ Instrumentalisierung von Medien 40 Personalentscheidung (Bewerbung um einen Posten, Entlassungen etc.) 41 Postenverteilung 50 Putsch/ Staatsstreich in anderen Ländern 60 Wahlen/Wahlkampf 61 Andere Partizipationsformen (Volksbegehren, Bürgerinitiative) 99 Sonstige Prozesse References Eilders, C., & Nitsch, C. (2015). Politics in Fictional Entertainment: An Empirical Classification of Movies and TV Series. International Journal of Communication, 9, 1563–1587. Jandura, O., Gladitz, P., & Nitsch, C. (2016). Parlamente in non-fiktionalen und fiktionalen Angeboten. Was man in „Berlin direkt“ und „Borgen“ über parlamentarische Abläufe erfährt [Parliaments in non-fictional and fictional formats. What we learn about parliamentary procedures in “Berlin direkt” and “Borgen”. Publizistik, 61(3), 287–304. Nitsch, C. & Eilders, C. (2015). Fictional politics on TV: Comparing the representations of political reality in the US-series “The West Wing” and the German series “Kanzleramt”. Global Media Journal. German Edition, 5(1), 1–19. Nitsch, C., Jandura, O., & Bienhaus, P. (2019). The democratic quality of political depictions in fictional TV-entertainment. A comparative content analysis of the political drama Borgen and the journalistic magazine Berlin direkt. Communications. The European Journal of Communication Research. DOI: https://doi.org/10.1515/commun-2019-2076.