Poetry, Rock ’n’ Roll, and Cinema in Turkey’s 1960s

Using developments in poetry, music, and cinema as case studies, this article examines the relationship between left-wing politics and cultural production during the long 1960s in Turkey. Intellectual and artistic pursuits flourished alongside trade unionism, student activism, peasant organizing, guerrilla movements. This article explores the convergences between militants and artists, arguing for the centrality of culture in the social movements of the period. It focuses on three revealing debates: between the modernist İkinci Yeni poets and young socialist poets, between left-wing protest rockers and supporters of folk music, and between proponents of radical art film and those of cinematic “social realism”.

The transition of insurgent-guerrilla movements to radical terrorist methods of struggle: retrospective features

The realities of modern reality indicate that there are a significant number of unjustified attempts to resolve controversial issues based on the use of force. The article shows the evolutionary processes of the transition of insurgent-guerrilla movements to radical terrorist methods of struggle in the period of 1991-2001 and reveals the reasons for this process. The article analyzes the definition of "international terrorism" in the modern sense, analyzes the characteristic features of international terrorism of the 1990s, the reasons for its spread, new forms of terrorist activity. The following methods were used in the study of the chosen topic: historical-genetic, comparative-historical; problem-chronological, the method of historical modeling. Authors conclude, there is no doubt that all the insurgent-guerilla movements, without exception, pursued their own goals. The most effective way to achieve them at the turn of the century turned out to be precisely terrorist attacks, which, with all the strength of state structures, were not possible to fend off. Thus, terrorism has become a strong weapon in the hands of weak players in the international arena.

“Essa Dama Bate Bué” e o cânone literário angolano

Essa Dama Bate Bué and the Angolan Literary Canon. A relevant topic for the history of literature, the literary canon has been widely questioned and the Angolan literary canon is no exception, being constantly susceptible to changes. The current paper aims at challenging the Angolan literary canon and defending the necessity of including the novel Essa Dama Bate Bué by Yara Monteiro. Published in 2018, it represents an example of silenced literature about women and guerrilla movements during the war for national independence, the subsequent civil war, and the post-conflict period. The book problematizes the presence of women in national wars, the countless roles they played, but also their integration in the post-colonial society, giving insights into a topic largely ignored in Angolan literature. Keywords: Angola, Angolan women, canon, Yara Monteiro, guerrilla movements

Brutal Until the End

Serbia, with its large population and rich mineral and agricultural resources, was the Kingdom of Yugoslavia's spiritual and economic heartland. It also hosted the Yugoslav capital, Belgrade, and linked Central Europe with Greece and Turkey via strategically important lines of communication. These facts escaped neither the Germans nor the guerrilla movements which came into life after the war had begun. Therefore, Serbia enjoyed a special position in Yugoslavia in terms of the occupation system and how the occupiers dealt with the resistance they encountered. The necessities of war would force the opposing sides in other parts of the country to agree to a limited de-escalation of violence when prisoners were involved. Serbia, apart from the first months of the war, would remain excluded from these arrangements.

Coda

In the twentieth-century Arabic-speaking world, communism animated anticolonial revolutions, workers’ organizations, guerrilla movements, and international solidarity. The communist dream was cut short by Arab governments, deals with global superpowers, the rise of religious fundamentalism, and historical bad luck. But recently a remarkable number of Arab filmmakers have turned their attention to the history of the radical Left. Filmmakers from Iraq, Syria, Lebanon, Palestine, Egypt, Algeria, Tunisia, and Morocco have been urgently seeking models for grassroots politics in the labor movements, communist parties, and secular armed resistance of earlier generations. This coda explores two strata of communist audiovisual praxis: the radical cinema that supported labor movements and guerrilla actions from the 1950s to the 1980s, and recent films that draw on that earlier movement. The coda argues that the Arab audiovisual archive holds flashes of communism that have been neither fulfilled nor entirely extinguished. The new films release their unspent energy into the present, diagnosing earlier failures of Arab communism and making plans for new forms of solidarity.