In this paper, I have tried to describe what a cultural transformation can be, using Austropop as a specifically Austrian example. For that, I first have rethought articles by Erward Larkey, Richard Wagnleitner and Gerd Gemünden. Their contributions and the critical class debates were necessary in order to understand cultural exchanges in a German speaking context. Going back in history and reconsidering the roots of certain developments can shed light on the reasons for their existence, as in the case of Austropop. Therefore, I have added a short history of Austropop that focuses more on the how and why than on its actors. In chapter three, I have analyzed a particular Austropop artist and compared him to his American 'counterpart' and pointed out the differences, similarities and especially novelties that came to life through a cultural exchange.
Table of Contents
1. Introduction
2. AustroPop - a transcultural style and a product of cultural contact
2.1 The imaginary America – Cultural transformations linked to America
2.2 Short History of Austropop
3. An example of cultural translation
3.1. The Boss of America – Bruce Springsteen
3.2. Da Chef ausn Gemeindebau – Ostbahn-Kurti
3.3. Fire vs. Feuer
4. Conclusion
Objectives and Core Themes
This paper examines the transcultural nature of "Austropop" as a specific Austrian phenomenon, analyzing how it emerged from the interaction between local musical traditions and foreign influences. The primary research goal is to understand the mechanisms of cultural translation and identity construction by comparing the Austrian artist Ostbahn-Kurti with his American counterpart, Bruce Springsteen.
- The transcultural style of Austropop as a product of cultural contact.
- The perception of "America" as an imaginary construct in German-speaking countries.
- Processes of cultural translation, re-semanticization, and appropriation.
- The construction of national identity through popular music and social criticism.
- Comparative analysis of stage personas and the mythology of the "working class hero".
Excerpt from the Book
3.2 Da Chef ausn Gemeindebau – Ostbahn-Kurti
As already mentioned, Ostbahn-Kurti is a fictional character, a Kunstfigur that was invented by the Austrian writer Günter Brödl out of a joke. When Brödl was asked how the American band Southside Johnny & the Ashbury Jukes would be called in Vienna, the artist answered Ostbahn-Kurti und die Chefpartie. In 1979, Brödl staged a play called 'Wem gehört der Rock'n'Roll?', that already featured some stories about Kurti. When Brödl met the singer Willi Resetarits in 1983, the two artists further developed the fictitious character and made him a working class persona living in the Eastern districts of Vienna, Simmering and Favoriten, that are mainly associated with the Viennese working class. This persona was designed to romanticize the working class, the simple people that had never been represented in high culture.(see Larkey, 168) While being on stage and performing, Ostbahn-Kurti told stories of his life, of the people he met and “mythologizes the daily experiences of the fictitious character of a member of the Vienna sub-proletariat”.(Larkey, 168) This approach was similar to the socially critical Austropop artists like Wolfgang Ambros and Georg Danzer, but also to the mythologizing of the American working class Bruce Springsteen celebrated in the US.
Musically, Ostbahn-Kurti and his band(s) mainly used popular American songs and melodies by rock artists such as Bruce Springsteen or Lynrd Skynrd and adapted them to fit the Austrian audience by, for example, translating the lyrics into an often archaic Viennese dialect associated with the working class. This translation does represent “a carefully engineered attempt to revive older, disappearing forms of speech in a modern working class hero”, and was not a mere translation of words into a different language since the translation also included cultural concepts and ideas rooted in the Viennese dialect.
Chapter Summaries
1. Introduction: The author outlines the academic context of the paper at Stanford University and discusses the personal shift in perspective regarding the cultural value of Austropop and artists like Ostbahn-Kurti.
2. AustroPop - a transcultural style and a product of cultural contact: This chapter defines Austropop as a transnational style and introduces a model of cultural diffusion to explain how local musicians adapt foreign influences.
2.1 The imaginary America – Cultural transformations linked to America: The chapter explores the historical and psychological significance of the "imaginary America" in German-speaking countries and how this concept influenced post-WWII cultural identity.
2.2 Short History of Austropop: This section details the emergence of Austropop in the late 1960s and 1970s, highlighting the influence of radio (Ö3) and the transition from "learning" phases to established domestic popularity.
3. An example of cultural translation: The author introduces the comparative project of analyzing Ostbahn-Kurti against Bruce Springsteen to demonstrate how cultural assets are re-interpreted in new contexts.
3.1. The Boss of America – Bruce Springsteen: This section analyzes Springsteen’s persona as an icon of the American working class and his role as a template for other artists.
3.2. Da Chef ausn Gemeindebau – Ostbahn-Kurti: The chapter describes the creation of the fictitious persona Ostbahn-Kurti by Günter Brödl and Willi Resetarits, focusing on its representation of the Viennese working class.
3.3. Fire vs. Feuer: The author conducts a close reading of the song "Feuer", comparing it to Springsteen's "Fire" to illustrate the linguistic and performative adaptations involved in cultural translation.
4. Conclusion: The paper concludes that Austropop serves as a vital element of Austrian identity, having successfully transitioned from a subcultural movement to a recognized part of Austrian tradition.
Keywords
Austropop, Cultural Translation, Cultural Transformation, Identity, Ostbahn-Kurti, Bruce Springsteen, Transculturalism, Viennese Dialect, Working Class, Popular Music, Hegemony, Re-semanticization, Mythology, Social Criticism, Musicology
Frequently Asked Questions
What is the core subject of this paper?
The paper explores the development of Austropop as a transcultural phenomenon and analyzes how popular music acts as a catalyst for cultural transformation and the formation of national identity in Austria.
What are the central thematic areas?
The central themes include cultural contact, the influence of American culture on European societies, the role of local dialects in music, and the artistic representation of the working class.
What is the primary research goal?
The goal is to demonstrate how a cultural asset—specifically popular music—is not merely copied but translated and adapted to create something unique within a local context.
Which scientific methodology is used?
The author uses a qualitative approach, combining literature review (referencing theorists like Edward Larkey and Gerd Gemünden) with a comparative cultural analysis of musical performance and lyrical re-interpretation.
What is covered in the main section?
The main section investigates the historical roots of Austropop, the perception of America in Austria, and a detailed comparative case study between the Austrian character Ostbahn-Kurti and the American musician Bruce Springsteen.
Which keywords best characterize this work?
Key terms include Austropop, Cultural Translation, Transculturalism, National Identity, and Social Mythology.
How did Willi Resetarits contribute to the Austropop phenomenon?
Willi Resetarits embodied the fictional character "Ostbahn-Kurti," a persona that allowed him to romanticize and provide a voice to the Viennese working class, becoming a lasting cultural icon in Austria.
Why is the comparison between Bruce Springsteen and Ostbahn-Kurti significant?
This comparison highlights that while the musical structure and "working class hero" imagery are shared, the translation into the Viennese dialect and local cultural myths creates a distinctly Austrian identity that challenges dominant "high culture."
- Citar trabajo
- Sonja Maier (Autor), 2009, AustroPop - a transcultural style and a product of cultural contact, Múnich, GRIN Verlag, https://www.grin.com/document/166980
