Counterculture

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Many scholars have already explored the unresolved contradictions and conscious ruptures of logic and reasons of the Counterculture. This essay wants to provide an additional study of the 1960's, focusing on the role played by the arts, and by music in particular, as commentators and resource of the Counterculture. This will lead to my main research question which is to try to understand the echoes and the weight of the 1960's in the Modernity.
If considering the 1960's decade from the point of the participatory social life, we could define it in terms of a number of previously unaccommodated and disenfranchised groups of people who began to creatively engage history for themselves, to make it their own (James, 2002).
In doing so, these groups reshaped the relationships between politics and the arts, creating an epochal change in the structure of American National Cultures (ibid). As a matter of fact, in the 1960's, culture became a source to react against the mainstream society; the arts were re-created as actions and as human activities which were collective and spontaneous (ibid).
The 60's Counterculture first appeared in the United States as a 'ripening of popular discontent over America's shrill post-war triumphalism' (Doyle & Braunstein, 2002, p. 8).
The rebellious feeling was originally cultivated in the 1950's 'in the many scattered glimpses of bohemia across the land' (ibid); the Beat writers were the first who vigorously denounced the cold war militarism, social regimentation and racial segregation of the American society (Doyle & Braunstein, 2002).
In the 1960's music was the soundtrack of pivotal social events such as the Civil Rights March on Washington in 1963 and Anti-Vietnam War Manifestations. More precisely, ...

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