Performing Global NetworksKaren Fricker, Ronit Lentin 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 Thompson’s rallying cry for a clearer analytical approach to the ways in which networks are ‘enacted, assembled, conducted, and performed.’ In its thirteen chapters, scholars from a variety of fields – sociology, theatre and performance studies, peace studies, history, and musicology – as well as social and cultural activists, explore the multiple meanings of global networks and performance. |
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Page 42
... Ireland... inhibition of mobility signifies disadvantage' (Lonergan 2003, 22-23). The assistance of the former has become the mandate of Culture Ireland, to facilitate and accelerate the globalisation of Irish culture by enhancing the ...
... Ireland... inhibition of mobility signifies disadvantage' (Lonergan 2003, 22-23). The assistance of the former has become the mandate of Culture Ireland, to facilitate and accelerate the globalisation of Irish culture by enhancing the ...
Page 43
... Irish culture that most critics claim to contest. It would be far more interesting to find new forms of artistic expression that reflect the globalisation of Irish culture from below. Yet, as a whole, Irish theatre criticism fails to ...
... Irish culture that most critics claim to contest. It would be far more interesting to find new forms of artistic expression that reflect the globalisation of Irish culture from below. Yet, as a whole, Irish theatre criticism fails to ...
Page 44
... Ireland historically 'was never the monoculture' that it represented itself to be (Lentin and McVeigh 2002, 21) ... culture, Lentin and McVeigh seek to move 'beyond pessimism'in finding the 'means of dismantling state racism... in Ireland ...
... Ireland historically 'was never the monoculture' that it represented itself to be (Lentin and McVeigh 2002, 21) ... culture, Lentin and McVeigh seek to move 'beyond pessimism'in finding the 'means of dismantling state racism... in Ireland ...
Page 45
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Contents
1 | |
8 | |
25 | |
38 | |
CHAPTER FOUR | 52 |
CHAPTER FIVE | 67 |
CHAPTER SIX | 88 |
CHAPTER SEVEN | 105 |
CHAPTER NINE | 139 |
CHAPTER TEN | 163 |
CHAPTER ELEVEN | 182 |
CHAPTER TWELVE | 198 |
CHAPTER THIRTEEN | 206 |
CONTRIBUTORS | 228 |
INDEX | 232 |
CHAPTER EIGHT | 121 |
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Abbey activities actors African analysis appears argues artistic Association attempt audience become Britain British campaign Centre century chapter collective concept connections contemporary Contest create cultural debate discussion Dublin economic emergence empire engage ethnic Europe Eurovision event example experience fans gender global networks globalisation Holton human ideas identity immigrant important individual intercultural interest involved Ireland Irish Irish theatre Israeli issue knowledge language largely Lentin live London means memory migration movement Nakba obscenity organisations origin Palestinian participate particular performance play political position practices present Press production promote Quaker question recent refugees regulation relation represent response role sense social society specific stage structures Studies theatre theory trafficking transnational understanding University women