Performing Global NetworksKaren Fricker, Ronit Lenṭin Networks are everywhere: from migrant organisations to information technology, from business to social movements, from international governance to global non-governmental organisations, from theatrical collectives to fan clubs, from memory sites to narrative circles. The portmanteau terms networks, and more specifically, global networks, seem to have become the mots du jour in contemporary cultural and social studies. But what cultural, social and political work do global networks accomplish: what is the work of these networks? This path-breaking collection follows Graeme Thompsonâ (TM)s rallying cry for a clearer analytical approach to the ways in which networks are â ~enacted, assembled, conducted, and performed.â (TM) In its thirteen chapters, scholars from a variety of fields â " sociology, theatre and performance studies, peace studies, history, and musicology â " as well as social and cultural activists, explore the multiple meanings of global networks and performance. |
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Page 96
... audience . In this event , then , the majority audience was white and middle - class , composed of Irish and other Europeans attending a concert promoted in a world music context in Dublin . The minority , but vocal and visible audience ...
... audience . In this event , then , the majority audience was white and middle - class , composed of Irish and other Europeans attending a concert promoted in a world music context in Dublin . The minority , but vocal and visible audience ...
Page 97
... audience and star . On these occasions , the major other languages being used have claims to being world ones - French , Portuguese , and Arabic . Hence the irony of the world audience being excluded from the moments of diasporic ...
... audience and star . On these occasions , the major other languages being used have claims to being world ones - French , Portuguese , and Arabic . Hence the irony of the world audience being excluded from the moments of diasporic ...
Page 100
... audiences present in these contexts . The migrant audience tends to ' interrupt ' ( Silverman and Torode 1980 ) the ( majority ) world music audience on these occasions , not just literally , but in the sense of shifting the discourse ...
... audiences present in these contexts . The migrant audience tends to ' interrupt ' ( Silverman and Torode 1980 ) the ( majority ) world music audience on these occasions , not just literally , but in the sense of shifting the discourse ...
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Abbey Theatre actors African AkiDwA analysis Anglo-Irish Agreement anti-trafficking Arambe argues artistic asylum seekers audience Bat Shalom become Britain British Cambridge campaign Centre chapter colonies concept conflict contemporary Contest cosmopolitan Culture Ireland debate diasporic economic emergence emphasis empire ethnic Europe event example fan network feminist Fuchs Garret FitzGerald gender global networks globalisation Holton human rights identity immigrant individual intercultural interview Irish culture Irish fan Irish theatre Israel Israeli issue Italian Lentin and McVeigh live London Machsom Watch memory microhistory migrant women migration movement Nakba narrative national theatre networking activities Northern Ireland obscenity OGAE organisations Oxford Pappe participate performance play Plough political Priestman-Bright circle production prostitution racism regulation relation role Routledge social networks society songs stage Studies theory trafficking transnational transnationalism Trinity College Dublin University Press women migrants women's networks women's rights world music Zochrot