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Journal articles on the topic 'Counterculture'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Garbutt, Rob. "Creating Space for Protest and Possibility." Contention 7, no. 1 (2019): 66–80. http://dx.doi.org/10.3167/cont.2019.070106.

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This article brings together the ideas of protest and counterculture in a productive engagement. If protest is understood as publicly bearing witness in opposition to something, then countercultures often do this as rejections of dominant cultures that are folded into everyday life in order to create spaces for possible futures. The countercultural experiments undertaken in the region around Nimbin, Australia, are an example of such space creation. Using interviews, presentations, and archival materials collected at a 2013 community conference marking the 40th anniversary of the 1973 Nimbin Aq

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BAI, IVAN S., and IVAN D. TUZOVSKY. "TRANSFORMATION OF COUNTER-CULTURE INTO COUNTER-CULTURAL STYLE: TOWARDS THE QUESTION OF RECOVERY OF PROTEST POTENTIAL." Челябинский гуманитарий 71, no. 2 (2025): 7–12. https://doi.org/10.47475/1999-5407-2025-71-2-7-12.

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The article is devoted to the analysis of the processes of transformation of counterculture in the context of modern society, where processes of commodification, recuperation, and globalization dominate. The co-authors examine how initially protest movements and symbols are integrated into mass culture, losing their revolutionary potential.The work explores key theoretical approaches to understanding counterculture, including the works of D. Hebdige, N. Klein, and Guy Debord, which demonstrate how subcultural styles and symbols become objects of commercialization. The authors show how counterc

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3

Rathna, Donar. "Art and Counterculture: Shaping Identity Through Expression and Engagement." Art and Society 2, no. 4 (2023): 40–48. http://dx.doi.org/10.56397/as.2023.08.06.

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This paper explores the dynamic relationship between artistic expression and counterculture, shedding light on how artworks shape, reflect, and convey identities within alternative and nonconformist cultures. Countercultural movements challenge prevailing norms, seeking to establish alternative value systems, and artistic expression becomes a powerful medium through which these identities are both constructed and communicated. Through a historical overview, case studies, and analysis of media representation, the paper examines the intricate interplay between counterculture and art. It also del

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Шафраньош, O. І. "Approaches to the study of the phenomenon of counterculture: the attempt of typology." Grani 22, no. 3 (2019): 52–61. http://dx.doi.org/10.15421/171932.

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In the article the author analyzes the directions of studying the phenomenon of counterculture in Western science. An attempt is also made to typologize these scientific approaches. The term is first encountered in the work of Talcott Parsons «Social System» in 1951. The term is used in the context of a discussion on the ideology of subculture movements and deviant groups. His term sounds like «counter-culture». In a somewhat modified writing, with an expanded description of the term, it is used by American sociologist J. Milton Jinger in 1960. His term «contraculture» in English first encount

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5

Bock, Oliver. "Decadent Artwork in the Sixties Counterculture Magazines International Times and Oz." Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (2025): 59–76. https://doi.org/10.1515/zaa-2025-2007.

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Abstract Leading magazines of 1960s counterculture in Britain made use of decadent aesthetics, yet the significance of this fin-de-siècle form of an artistic and ideological alternative for the counterculture of the Sixties has often been passed over in accounts of the aftermaths of Decadence. The paper examines the allusion to and the usage and assimilation of principles of decadent visual design as well as the visible incorporation of Beardsley-like style elements in selected pieces of artwork published in the magazines International Times (IT) and Oz. Discussing possible functions of these

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6

Petrash, Nikolay D., and Elena V. Petrash. "Assessment of the Influence of Counterculture Symbols and Images on the Formation of Individual Identity." Общество: философия, история, культура, no. 7 (July 24, 2024): 91–97. http://dx.doi.org/10.24158/fik.2024.7.11.

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This article examines the process of forming individual identity in the context of interaction with countercultural symbols and images. The focus is on the idea that individual identity can develop in various social conditions, including both positive and negative scenarios of influence. Particular attention is paid to the role of initiation processes, including in the criminal counterculture, and their stages: pre-liminal, liminal, and post-liminal. The article analyzes how initiation rites and associated practices contribute to the emergence of new personal quali-ties and the formation of a

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7

Kuligowski, Waldemar. "Anthropology as a Counterculture. Against the Mainstream (from the 1960s until Today)." Anthropos 116, no. 2 (2021): 429–38. http://dx.doi.org/10.5771/0257-9774-2021-2-429.

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This article is an attempt to ascertain the relationship between anthropology and counterculture. However, I am interested not so much in artistic affiliations (though, certainly, extremely interesting), but rather in strategies of activity and a specific shared “spirit” of resistance. My assumption is that anthropology has been a critical discipline from its beginnings, transgressing the cultural, social, political, and even moral mainstream. A dialogical, collaborative, advocational, and activist attitude are all hallmarks of an anthropological counterculture. In this context I focus on thre

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8

Fichter, Madigan. "Rock ‘n’ roll nation: counterculture and dissent in Romania, 1965-1975." Nationalities Papers 39, no. 4 (2011): 567–85. http://dx.doi.org/10.1080/00905992.2011.585146.

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A vibrant countercultural and dissident movement developed in Romania between 1965 and 1975. Young Romanians combined elements of the global youth movement with local cultural and political practices. Thus, Romanian counterculture and dissent shared the era's hippie aesthetic and anti-authoritarianism, but was highly isolationist, vehemently antisocialist and heavily couched in the language of the nation and nationalism. Furthermore, during this early Ceauşescu period, the socialist regime attracted some level of nonconformist support through a program of reform, opposition to Soviet interfere

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9

FLAY, CATHERINE. "After the Counterculture: American Capitalism, Power, and Opposition in Thomas Pynchon's Mason & Dixon." Journal of American Studies 51, no. 3 (2016): 779–804. http://dx.doi.org/10.1017/s0021875816001961.

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Although Thomas Pynchon has continued to publish long after the postwar American countercultural era, his politics are critically characterized in relation to that movement's values. The dominant critical positions associate power with rationalism and functionality, and political opposition with creativity and pleasure, positioning Pynchon's novels at a politicized intersection between postmodernism and the counterculture. This article problematizes this dominant critical position, taking Mason & Dixon (1997) as exemplary of Pynchon's reconsideration of the nature of power and potential op

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10

Murphy, Timothy S. "I Play for You Who Refuse to Understand Me." Journal of Popular Music Studies 30, no. 4 (2018): 143–60. http://dx.doi.org/10.1525/jpms.2018.300410.

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In Italy, the counterculture of the Sixties lasted until 1979, when it perished in the clash between two paranoias: the Italian state’s fear of terrorism and the radical social movements from which it arose, and the terrorists’ fear of the state’s authoritarianism. Popular musicians were trapped between these paranoias, and their music searches to escape from both while chronicling the closing of the space between them, the only space in which countercultural social and artistic experimentation could take place. This essay focuses on the Italian “international POPular group” Area, which acted,

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11

Šoškić, Radoje V. "Thomas Pynchon’s Inherent Vice as a Menippean Satire." Literature of the Americas, no. 17 (2024): 67–89. https://doi.org/10.22455/2541-7894-2024-17-67-89.

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This paper explores Thomas Pynchon’s novel Inherent Vice through the lens of Menippean satire, elucidating in particular its intricate interplay of capitalism, counterculture, and spatial dynamics. Drawing upon Mikhail Bakhtin’s theory of Menippean satire, which highlights the carnivalesque inversion of societal norms and the critique of established power structures, the analysis delves into the manifold manipulations of human and spatial identities within the context of consumer culture. Examining the novel’s portrayal of spatial conflicts, akin to Pynchon’s earlier work V., the paper contend

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12

Williams, Lee Burdette. "Campus Counterculture." NASPA Journal 32, no. 1 (1994): 46–54. http://dx.doi.org/10.1080/00220973.1994.11072378.

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13

Cohen, Judith Beth, and Patricia Henley. "Counterculture Characters." Women's Review of Books 10, no. 10/11 (1993): 30. http://dx.doi.org/10.2307/4021546.

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14

Bennett, Andy. "Reappraising « Counterculture »." Volume !, no. 9 : 1 (September 15, 2012): 20–31. http://dx.doi.org/10.4000/volume.3499.

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Oksana, ZAKHAROVA. "DIPLOMATIC COUNTERCULTURE." Humanities science current issues 1, no. 57 (2022): 118–24. http://dx.doi.org/10.24919/2308-4863/57-1-15.

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16

Cunha, Daniel. "Climate Science as Counterculture." Liinc em Revista 18, no. 1 (2022): e5928. http://dx.doi.org/10.18617/liinc.v18i1.5928.

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This article investigates climate science as a cultural object. By pursuing the “logic of its aporias”, it is shown that climate science emerged at the confluence of the objective development of the means of production (constituting a “planetary general intellect”) and the countercultural movement of the 60s, which put ecology at its center, but was broader than mere “environmentalism”. This resulted in the emergence of new forms of sensibility and a qualitative transformation of the natural sciences, which recognized the autonomy and complexity of nature. The constitution of climate science i

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17

Karpov, Denis L. "THE HERO OF THE NOVEL BY I. MALYSHEV “NOMAKH” AND THE YEGOR LETOV’S POETICS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 92–101. http://dx.doi.org/10.28995/2686-7249-2021-3-92-101.

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Contemporary literature is being formed in a difficult situation of polyphony of the modern consumer culture. Mainstream discourses are mixed with subcultural ones, the authors are influenced not only by the literary tradition itself, but also, for example, by rock culture. Thus, the countercultural, subcultural experience, which until recently was considered as peripheral, is actively being introduced into the socio-cultural discourse of modern Russia through the assimilation by authors claiming a place in the center of the country’s literary life. The novel by I. Malyshev “Nomakh” may be con

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18

Wallenius, Todd. "American Counterculture Ideals Expressed through the Music of the 1960s." Prithvi Academic Journal 1, no. 1 (2018): 79–87. http://dx.doi.org/10.3126/paj.v1i1.25902.

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The 1960s era was one of the most divisive, turbulent periods in American history. In many ways, the decade was defined by the Counterculture Movement and by those who resisted the demands of a conformist society rooted in Cold War values. This historical study first contextualizes the emergence of the Counterculture Movement of the 1960s within the historical period of mid-century America. Next, the paper provides an analysis of the values of the Counterculture Movement expressed through music. Exploration of counterculture songs reveals that participants advocated the rejection of society th

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19

FREER, JOANNA. "Thomas Pynchon and the Black Panther Party: Revolutionary Suicide in Gravity's Rainbow." Journal of American Studies 47, no. 1 (2012): 171–88. http://dx.doi.org/10.1017/s0021875812000758.

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This article pertains to the recent upsurge of interest in the politics of Thomas Pynchon. It considers Pynchon as an author very much of the 1960s counterculture, and explores the countercultural values and ideals expressed in Gravity's Rainbow, with particular emphasis on revealing the novel's attitude to the Black Panther Party. Close textual analysis suggests Pynchon's essential respect for Huey P. Newton's concept of revolutionary suicide, and his contempt for Marxist dialectical materialism, two core elements of Panther political theory. Drawing on an analogy between the BPP and Pynchon'

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20

TAYLOR, J. D. "THE PARTY'S OVER? THE ANGRY BRIGADE, THE COUNTERCULTURE, AND THE BRITISH NEW LEFT, 1967–1972." Historical Journal 58, no. 3 (2015): 877–900. http://dx.doi.org/10.1017/s0018246x14000612.

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ABSTRACTThis article analyses the emergence of politically motivated acts of left-wing terrorism in Britain between 1967 and 1972. Through the case of the ‘Angry Brigade’, an ill-defined grouping which claimed responsibility for a number of attacks against property between 1970 and 1971, it analyses how protest and political violence emerged from discourses and events in the British New Left, the anti-war protest movements, the counterculture, and the underground press. Against common interpretations of ’68 as a watershed of naïve hopes that waned into inaction, this article identifies a consi

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21

Berman, R. A. "Counterculture and Consumerism." Telos 1987, no. 74 (1987): 167–72. http://dx.doi.org/10.3817/1287074167.

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22

Frood, Arran. "Drug-fuelled counterculture." Nature 455, no. 7215 (2008): 870. http://dx.doi.org/10.1038/455870a.

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23

Levy-Lyons, A. "The Religious Counterculture." Tikkun 27, no. 2 (2012): 45–68. http://dx.doi.org/10.1215/08879982-2012-2017.

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24

Steiner, Linda. "Reporting the Counterculture." American Journalism 7, no. 4 (1990): 283–84. http://dx.doi.org/10.1080/08821127.1990.10731312.

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25

Iheanacho, I. "The new counterculture." BMJ 337, sep05 1 (2008): a1576. http://dx.doi.org/10.1136/bmj.a1576.

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26

Hollander, Paul. "Explaining the Counterculture." Academic Questions 31, no. 1 (2018): 23–32. http://dx.doi.org/10.1007/s12129-017-9681-1.

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27

Farber, David. "Building the counterculture, creating right livelihoods: the counterculture at work." Sixties 6, no. 1 (2013): 1–24. http://dx.doi.org/10.1080/17541328.2013.778706.

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28

RODRÍGUEZ-SOLÁS, DAVID. "Occupying Las Ramblas: Ocaña's Political Performances in Spain's Democratic Transition." Theatre Research International 43, no. 1 (2018): 83–98. http://dx.doi.org/10.1017/s030788331800007x.

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This article demonstrates that José Pérez Ocaña's political performances open up the possibility of questioning the narrative of the transition to democracy in Spain as one resulting from political consensus. Using sources available in documentaries and in the archives of the counterculture, the essay studies Ocaña as a political subject of the transition. Among his public acts, the essay considers his street performances, his sexually explicit performance in the Canet Rock music festival and in International Anarchist Days in 1977, and his problematic participation in gay pride parades in Bar

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29

Janzen, Rebecca. "El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s." Studies in Spanish & Latin-American Cinemas 18, no. 2 (2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.

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This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same di

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Moskovich, Yaffa, and Adi Binhas. "NGOs helping migrants: an Israeli case study of counterculture." International Journal of Sociology and Social Policy 35, no. 9/10 (2015): 635–48. http://dx.doi.org/10.1108/ijssp-11-2014-0109.

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Purpose – The purpose of this paper is to study the NGOs in the immigration field as a counterculture working simultaneously with and against the establishment. Design/methodology/approach – Case study approach using interviews and documents analysis. Findings – This paper studies the cultural features of three civil associations, interested in promoting social welfare for immigrants. These NGOs challenge the Israeli government when it violates human rights. This conflict takes place in the courts, the Knesset (parliament), governmental agencies, the media, and sometimes in the streets. The th

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Fortmann, Michel, and Martin Larose. "An Emerging Strategic Counterculture?" International Journal: Canada's Journal of Global Policy Analysis 59, no. 3 (2004): 537–56. http://dx.doi.org/10.1177/002070200405900305.

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Konkina, Gulbarshin Spanovna, S. S. Kasimova, and K. V. Ushakova. "COUNTERCULTURE: CAUSES AND CONSEQUENCES." Theoretical & Applied Science 31, no. 11 (2015): 87–91. http://dx.doi.org/10.15863/tas.2015.11.31.15.

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33

Lesney, Mark S. "Knowledges: Culture counterculture subculture." American Journal of Human Biology 11, no. 3 (1999): 416–17. http://dx.doi.org/10.1002/(sici)1520-6300(1999)11:3<416::aid-ajhb16>3.0.co;2-r.

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34

Jelesijević, Nenad. "Counterculture – an impossible performance." Miscellanea Posttotalitariana Wratislaviensia 11 (May 6, 2025): 69–75. https://doi.org/10.19195/2353-8546.11.6.

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Leaving the culture is an ultimate gesture when our intention is to make the art that is closely tied to idea of the common. It’s important to underline that it is not “culture” what was/is the carrier of potential liberation, but the counterculture. “Culture” could be understood as society’s outer aesthetics that reflects its inner alienation. The culturalized art is bad conscience of biopolitical governance and at the same time one of its most dangerous weapons. Its destructive influence is being performed as virtual preserving of the common through art, while in fact it’s all about its more

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35

Andrade Guevara, Víctor Manuel. "El 68 global: Revolución y contracultura." Clivajes. Revista de Ciencias Sociales, no. 10 (December 3, 2018): 1–20. http://dx.doi.org/10.25009/clivajes-rcs.v0i10.2549.

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Este artículo emprende un balance sobre el impacto del movimiento global de 1968 en la configuración del capitalismo contemporáneo, así como en el campo de las ciencias sociales. A diferencia de quienes sostienen que el movimiento cívico-estudiantil y la contracultura que le acompañó no tuvieron un impacto significativo en el ámbito político, aquí se afirma que la contracultura y los breves, pero intensos, momentos de experimentación de otras formas de participación política y de convivencia, junto con los valores contraculturales que le acompañaron, tuvieron una repercusión política, más allá

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Tarasov, Aleksei Nikolaevich. "The origins of postmodernism as a sociocultural transformation: counterculture of the 1960s – early 1970s." Философская мысль, no. 2 (February 2021): 53–62. http://dx.doi.org/10.25136/2409-8728.2021.2.32871.

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This article reviews postmodernism as a transitional stage in the dynamics of modern culture in the countries of Euro-Atlantic civilization. Such transitional stages the author defines as sociocultural transformations. Postmodernism is the finale of the current stage of sociocultural transformation, which according to the author started in the last third XIX century with the avant-garde culture. The article traces the impact of counterculture of the 1960s &ndash; early 1970s upon establishment of the postmodern paradigm. It is demonstrated that counterculture manifested as the sociocultura

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37

Stiefel, Barry. "When marginal counterculture becomes acceptedmainstream: Preservation and counterculture(s)heritage of the past." Counterculture Studies 2, no. 1 (2019): 1–19. http://dx.doi.org/10.14453/ccs.v2i1.11.

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38

Harris, Mark. "Thomas Crow, The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (2023)." Aesthetic Investigations 6, no. 2 (2023): 221–26. http://dx.doi.org/10.58519/aesthinv.v6i2.18527.

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Thomas Crow’s book The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge reappraises West Coast art as enmeshed in the counterculture. The first five of its twelve chapters discuss Bruce Conner’s development as a multimedia artist in San Franscisco and Los Angeles producing assemblages, films, drawings, magazine illustrations, and light shows for rock concerts. The next five chapters expand Crow’s argument by appraising anti-war manifestations, Black and Latino protest work, Land Art, and West Coast conceptual practices as aspects of the counterculture. Mo

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39

Sazikov, A. V. "Counterculture and Social Revolution in the Context of Project Activity. Appropriate Technology and the Whole Earth Catalog." Art & Culture Studies, no. 2 (June 2025): 94–127. https://doi.org/10.51678/2226-0072-2025-2-94-127.

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The article examines the importance of counterculture and alternative technologies, primarily appropriate technologies, in shaping the environmental movement aimed at using scientific achievements, new technologies, ecological thinking, and ecodesign in the social revolution in the West in the 1960s and 1970s. Maintaining energy and information awareness were described as the basic skills needed to change the system. The article shows how under the influence of the politics of the New Left the representatives of the counterculture, such as the publisher of the Whole Earth Catalog Stuart Brand,

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40

Ramos-Carranza, Amadeo, and Rosa María Añón-Abajas. "CONTRACULTURA, ACCIONES Y ARQUITECTURA." Proyecto, Progreso, Arquitectura, no. 18 (2018): 12–15. http://dx.doi.org/10.12795/ppa.2018.i18.11.

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Para la arquitectura, la década de los sesenta y siguientes queda como el momento de grandes acontecimientos que la intención de cambiar los paradigmas sociales, políticos, económicos e ideológicos dominantes en sociedades industrializadas y desarrolladas. Movimientos y corrientes contraculturales que se añadieron al extenso y complejo panorama ideológico que Charles Jencks representó en su gráfico en el año 1971. Aquellos caminos marginales, con el paso del tiempo, el cambio de milenio y la consolidación de una arquitectura global, han dejado de expresar acciones o pensamientos colectivos, si

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Gebauer, Matthias, and Shadia Husseini de Araújo. "Islamic Shores Along the Black Atlantic." Journal of Muslims in Europe 5, no. 1 (2016): 11–37. http://dx.doi.org/10.1163/22117954-12341317.

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Within the conceptual discussions of ‘Muslim diaspora’, the intersection between cultural blackness and Islam has received little attention. Yet its investigation is necessary to understand the increasing conversion to Islam among people who associate themselves with cultural blackness. In this context, Islam seems to offer new means for resistance and liberation, and contributes to transnational countercultures directed against racism and socio-economic marginalisation in post-colonial societies. Using Gilroy’s ideas of ‘the Black Atlantic’ and ‘diaspora’, we aim to develop an analytical fram

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42

Bolaki, Stella, and Christopher Gair. "Disability and the American Counterculture." Journal of Literary & Cultural Disability Studies 9, no. 2 (2015): 125–34. http://dx.doi.org/10.3828/jlcds.2015.11.

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43

Turner, Fred. "The Corporation and the Counterculture." Velvet Light Trap 73 (March 2014): 66–78. http://dx.doi.org/10.7560/vlt7306.

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Rudnick, Lois, Rick Beard, and Leslie Cohen Berlowitz. "Greenwich Village: Culture and Counterculture." Journal of American History 81, no. 2 (1994): 737. http://dx.doi.org/10.2307/2081313.

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Flanagan, Joseph. "The Jesuit University as Counterculture." Method 10, no. 2 (1992): 127–45. http://dx.doi.org/10.5840/method19921023.

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46

Meilicke, Christine A. "Abulafianism Among the Counterculture Kabbalists." Jewish Studies Quarterly 9, no. 1 (2002): 71. http://dx.doi.org/10.1628/0944570022720954.

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47

Versluis, A. "The "Counterculture," Gnosis, and Modernity." Telos 2010, no. 152 (2010): 31–43. http://dx.doi.org/10.3817/0910152031.

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48

Ziarek, Ewa Płonowska. "Introduction: Fanon's Counterculture of Modernity." Parallax 8, no. 2 (2002): 1–9. http://dx.doi.org/10.1080/13534640210130386.

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49

Warren, Michael. "Culture, Counterculture and the Word." Liturgy 6, no. 1 (1986): 84–93. http://dx.doi.org/10.1080/04580638609409052.

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50

Marcó del Pont, Xavier. "Thomas Pynchon and American Counterculture." Textual Practice 32, no. 1 (2017): 188–90. http://dx.doi.org/10.1080/0950236x.2017.1405629.

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