Bibliografía.

Por orden cronológico

Roszak, T. [1968] 1970. El nacimiento de una contracultura. Reflexiones sobre la sociedad

tecnorcrática y su .oposición juvenil. Barcelona. Kairós.

Reich, Ch. [1968] 1972. The Greening of America. London. Penguin Books.

Nuttall, J. [1970]. Bomb culture. London. Paladin.

Caparrós, N. (ed.) 1975. Laing. Antipsiquiatría y contracultura. Madrid. Fundamentos.

Hall, S.; Jefferson, T. [1976] 2010. Resistencia a través de rituales. Subculturas juveniles en la
Gran Bretaña de la Posguerra. La Plata. Observatorio de Jóvenes.

Racionero, L. Filosofías del underground [1977] 2002. Barcelona. Anagrama.

Hebdige, D. Subcultura. El significado del estilo [1979]. Barcelona. Paidós.

Jameson, F.; et al. (eds.). 1984. The 60’s Without Apology. Minessota. University of Minessota
Press.

Jameson, Frederic. [1984] 1997. Periodizar los 60. Córdoba. Alción.

Marcus, G. [1989] 1993. Rastros de carmín. Barcelona. Anagrama.

Savater, F.; de Villena, L. 1989. Heterodoxias y contracultura. Madrid. Montesinos.

Whiteley, S. 1992. The Space Between the Notes. Rock and the Counterculture. N.Y. Routeldge.

Agustín, J. [1996]. 2016. La contracultura en México. La historia y el significado de los

rebeldes sin causa, los jipitecas, los punks y las bandas. México. Debolsillo.

Frank, T. 1997. The Conquest of Cool. Buisness Culture, Counterculure, and the Rise of Hip
Consumerism. Chicago. The University Press of Chicago.

Rodnitzky, J. 1999. The Rise and Fall of a Feminist Counterculture. London. Praeger.

Zolov, E. 1999. Refried Elvis. The Rise of Mexican Counterculture. Los Angeles. University of
California Press.

Gosse, V.; Moser R. (eds). 2003. The World The Sixties Made. Politics and Culture in Recent
America. Philadelphia. Temple University Press.

Martínez, M. Countering the Counterculture. Rereading Postwar American Dissent from Jack
Keouac to Tomás Rivera. 2003. Wisconsin. The University of Wisconsin Press.

Grinberg, M. 2004. La generación “V”. La insurrección contracultural de los años 60. Bs.As.
Emecé.

Goffman, K.; Joy, D. 2004. Countercultue Through the Ages. From Abraham to Acid House.
New York. Villiard.

Broune, D. 2004. From Walt to Woodstok. How Disney Created the Counterculture. Austin.
University of Texas Press.
Whiteley, S; Sklower, J. (eds.). 2004. Counterculture and Popular Music. Surrey. Ashgate.

Heath, J. [2004] 2005. Rebelarse vende. El negocio de la contracultura. Madrid. Taurus.

Vettel, E. Biotech. The Countercultural Origin of an Industry. 2006. University of Philadelphia

Press.

Fred, T. From Counterculture to Cyberculture. Stewart Brand, the Whole Earth Network, and
the Rise of Digital Utopianism. 2006. Chicago. The University of Chicago Press.

Gair, Christopher. 2007. The American Counterculture. Edinburgh. Edinburgh University Press.

D’Andrea, A. 2007. Global Nomads. Techno and New Age as transnational countercultures in
Ibiza and Goa. New York. Routeldge.

Zimmerman, N. 2008. Counterculture Kaleidoscope. Musical and Cultural Perspectives on

Late Sixties San Francisco. Michigan. The University of Michigan Press.

Miles, B. 2010. London Calling. A Counterculture History of London since 1945. London.
Atlantic Books.

Miles, B. 2011. In the Seventies. Adventures in the Counter-culture. London. Serptent’s Tail.

Brownell, Richard. 2011. American Counterculture of the 1960’s. Minsessotta. Lucent Books.

Scott Brown, Timothy; Lison, Andrew. 2014. The Global Sixties in Sound and Vision. Media,
Counterculture, Revolt. New York. Palgrave Macmillan.

Benedetti, Sebastián; Graziano Martín. 2016. Estación imposible. Expreso imaginario y el

periodismo contracultural. Buenos Aires. Gourmet musical.

Johnson, Rossiter. 2017. Timeline of the 60’s Counter-culture. New York. Jovian Press.

The project Countercultures: Argentine Literature, Critical Theory and Arts, pretend to address,
in a transdisciplinar way, an extensible series of practices and discourses which could be
considered as counterculturals, in the Argentine field, as well as in the Latin American, North
American and Europeans fields. The concept of counterculture immediately displays a wide
specter of aesthetic, discursive, anthropological, political, musical, graphic, ideological and
technological phenomena. Since it was introduced by Theodore Roszac in 1968, the concept has
resisted very different contexts, probing its endurance in the cultural debates and its adaptation
capacity, not losing its singularity nor its problematic and even contradictory character. Timothy
Leary wrote that the appropriate metaphor for an idea of the counterculture is the third
thermodynamic state, that is: the “non-linear region”. So, the interest of the present project is
not necessarily to define what it is the counterculture but how it works regarding different
cultural and political objects; being an idea conceptually conceived in the late 60’s, but capable
of going back into the past and towards the future, involving multiple dimensions of theory and
praxis.