For David Cameron and ‘Big Society’ Tories, folk culture means organic food, nu-folk pop music, and pastoral myths of Englishness. Meanwhile, postmodern liberal culture teaches us that talking about a singular ‘folk’ is reductive at best, neo-fascist at worst. But what is being held in check by this consensus against the possibility of a unified, oppositional, populist identity taking root in modern Britain? Folk Opposition explores a renewed contemporary divide between rulers and ruled, between a powerful elite and a disempowered populace. Using a series of examples, from folk music to football supporters’ trusts, from Raoul Moat to Ridley Scott, it argues that anti-establishment populism remains a powerful force in British culture, asserting that the left must recapture this cultural territory from the far right and begin to rebuild democratic representation from the bottom up. ,

Folklore: The Basics is an engaging guide to the practice and interpretation of folklore. Taking examples from around the world, it explores the role of folklore in expressing fundamental human needs, desires, and anxieties that often are often not revealed through other means. Providing a clear framework for approaching the study of folklore, it introduces the reader to methodologies for identifying, documenting, interpreting and applying key information about folklore and its relevance to modern life. From the Brothers Grimm to Internet Memes, it addresses such topics as: What is folklore? How do we study it? Why does folklore matter? How does folklore relate to elite culture? Is folklore changing in a digital age? With case studies, suggestions for reading and a glossary of key terminology, Folklore: The Basics supports readers in becoming familiar with folkloric traditions and interpret cultural expression. It is an essential read for anyone approaching the study of folklore for the first time.

Sounds of the Borderland is the first book-length study of how popular music became a medium for political communication and contested identification during and after Croatia's war of independence from Yugoslavia. It extends existing cultural studies literature on music, politics and the state, which has largely been grounded in Western European and North American political systems. It also responds to an emerging fascination with the culture and politics of contemporary south-east Europe, expanding scholarship on the post-Yugoslav conflicts by going on to encompass significant social and political changes into the present day. The outbreak of war in 1991 saw almost every professional musician in Croatia take part in a wave of patriotic music-making and the powerful state television system strive to bring popular music under its control. As the political imperative shifted from securing national survival to consolidating a homogenous nation-state, the music industry responded with several strategies for creating a national popular music, producing messages about the nation and, in the ongoing debates over the origins of the folk music that inspired many songs, a way to define the nation by expressing what Croatia was not. The war on ethnic ambiguity which cut through individuals' social and creative lives played out across the airwaves, sales racks and gossip columns of a small country that imagined itself a historical and cultural borderland. These explicit and implicit narratives of nationhood connect many political phases: the months of fiercest fighting, the stabilised front, the uneasy post-war years when the symbolic frontline region of eastern Slavonia had still not returned to Croatian sovereignty, the euphoria and instability after the end of the Tudjman regime in 2000, and Croatia's fraught journey towards the European Union. Baker's book provides valuable insight into the role of music in a wartime and post-conflict society and will be essential reading for researchers and students interested in south-east Europe or the transformation of entertainment during and after conflict.

Now that the political and economic plight of European Roma and the popularity of their music are objects of international attention, Romani Routes provides a timely and insightful view into Romani communities both in their home countries and in the diaspora. Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, Roma are revered as musicians and reviled as people. In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities--adaptability, cultural hybridity, transnationalism--that are taken to characterize late modern experience. And rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives.

While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror's geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.

This book offers interpretations of different forms of political opposition in political theory and also in the contemporary development of politics and government in Central Europe. The problem is analyzed through a comparative approach. The first part of the book targets the question of definitions and typologies of political opposition, above all, in democratic, but partly also in non-democratic regimes. The second part deals with the question of models of political opposition in Central Europe after the fall of communism in the late twentieth century and in the present.

Draws on contemporary theory in folkloristics and drama studies, with reference to a highly diverse set of folk drama forms, to formulate a fresh understanding of folk drama.

This experimental study of cultural dysfunction in New Mexico's Española Valley tells the stories of several of its Nuevomexicano residents, both famous and notorious.

In Between and Across acknowledges the boundaries that have separated different modes of historical inquiry, but views law as a way of talking across them. It recognizes that legal history allows scholars to talk across many boundaries, such as those between markets and politics, between identity and state power, as well as between national borders and the flows of people, capital and ideas around the world.

Black Marxism: The Making of the Black Radical Tradition