Transposition no 13: Music and right-wing movements

Call for papers, Transposition n°13 (2025): “Music and right-wing movements”
Edited by Júlia Donley, Lambert Dousson and Jason Julliot

The issue 13 of Transposition aims to provide an overview of the relationships between music and right-wing political movements in the contemporary world. 

Exploring and understanding a changing category

The political category of “right-wing” refers to a wide repertoire of practices and ideas whose boundaries are increasingly difficult to define: from the defense of free economic competition to the protection of cultural exceptions and national identities; from the demand for authority and security to the preservation of social order and traditional or religious values (Camus 2001; Faria Carvalho and Andrade De Oliveira Paiva 2022). A polymorphous phenomenon, the right-wing manifests its plasticity through the normalization of the extreme right, which, when not in power, manages to integrate its agenda into so-called moderate right-wing governments, and even the programs of certain left-wing parties, thereby blurring the boundaries and definitions of these political categories. Following these observations, researchers are working to understand the heterogeneity of political movements that identify themselves or that they identify as right-wing and prefer plurality to its unification (Bob 2012; Rydgen 2018; François 2022).

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Popular Music, Revival & Renewal: Histories, Cultures, Practices

CFP Special Issue of Continuum: Journal of Media & Cultural Studies: https://www.tandfonline.com/journals/ccon20

Contributions are sought for a special issue of Continuum under the theme ‘Popular Music, Revival & Renewal: Histories, Cultures, Practices’ with guest editors Lauren Istvandity, Mengyu Luo, and John Tebbutt.

There is an unusual dynamic to be observed in current popular music: it is so deeply embedded in cultures of everyday life that pop’s legacies crucially shape how we perceive music and its subcultures. In the post pandemic digital society this is increasingly visible. If ‘pop will eat itself’, the spectacle of this feast is contemporary music itself. Here, the terms popular music, contemporary music and ‘pop’, refer in general to products of a global music industry that is as evident in Korea or China as it is in Australia or Europe. Popular music’s cyclic generation of creative product is often fuelled by a sense of ‘looking back’ even as it serves to capture sentiments of modern-day audiences. This is particularly evident in the campaign around Taylor Swift’s ‘1989’ project, but it may also be found in the now de rigueur performances built around debut or iconic albums. These musical pasts continue to resonate in a range of cultural practices, however significant shifts in digital streaming, the value of material cultures, and patterns in artistic output and audience consumption raise critical questions about the role of a now extensive popular music history on the trends of pop music in the present.

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