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Bryan Fanning

dysfunctional interplay of liberalism, clientelism and corporatism. Many of the elements that made the banking crisis possible, he notes, ‘were intrinsic elements of market liberalism’. These included the limiting of public regulation, the rejection of political guidance of the economy, the indifference of private regulation to securing the common good and the structural importance and discursive privileging of markets and particularly finance.3 Such malign liberalism, he argues, combined with clientelism during the 2000s to destabilise a creative corporatism that had done

in Irish adventures in nation-building
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The new politics of loungification
Damian O’Doherty

events’, talking on mobile phones, huddling around tables in break-out rooms – presumably in earnest discussion about important business matters – reclining in leather sofas and sitting at desks making use of the digital facilities in the ‘post production 66 Lounge Manchester club’. ‘It’s a digital space for like-minded creative people and food lovers, with opportunities for private hire and deal-making privacy’, reads the website.1 Not to be outdone, Richard Branson’s Virgin group has also been developing the concept, re-lounging the high street retail bank

in Realising the city
Open Access (free)
Seas, oceans and civilisations
Jeremy C.A. Smith

history of the world can add to an elucidation of the dynamic inter-​relation of civilisations with the assemblage of oceanic forces. There are four aspects to this inter-​relation discussed in this chapter and then in Chapter 6. The four aspects criss-​cross the four dimensions of inter-​civilisational engagement. First is the orientation of civilisations to seas and oceans. Many societies exhibit a cultural and perhaps civilisational reluctance to embrace sea-​ going, while others are less hesitant. Creative orientations to seafaring can be seen in the acquisition of

in Debating civilisations
Andrew Miles

creative industries development. In turn, the roots of its success as England’s leading provincial ‘creative city’, which has continued with the BBC’s recent relocation to Mediacity on Salford Quays, have been presented in terms of a set of local particularities marked by the emergence of a diverse ‘urban growth coalition’ of city elites spanning the arts, popular culture and the creative industries.2 The relationship between culture, class and identity has been a consistent theme linking studies of Manchester’s past and present. Just as the opening up of ‘high’ cultural

in Culture in Manchester
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More writing than welding
Tom Woodin

‘personal troubles’ and ‘public issues’, in the words of the sociologist C. Wright Mills, were explicit.14 Despite the obstacles that working-class writers faced in the world, many were able to draw upon elements of their experience that facilitated rather than limited creative expression. Thus writing and personal expression could arise directly out of working-class life; it was not something perceived as alien to lived experience. Thompson grew up in a post-war East London family, where the idea of performing or doing a turn was a familiar one: Within the family there

in Working-class writing and publishing in the late twentieth century
Mikael Klintman

– and allowing for ignorance – may have huge benefits when facing problems, such as contaminated water and land. Unknowns will always exist. Acknowledging and accepting them increases the potential to act and discover both new problems and solutions, these scholars maintain. 24 They add an additional twist: ‘we also address the possibility to creatively use and manufacture specified forms of ignorance’. 25 The lesson is that we should not just admit and accept ignorance, but also the state of ignorance as such. This would open up new opportunities for searching

in Knowledge resistance
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Derek Robbins

unrestrainedly creative and exploratory. Because he did not acknowledge the a priori validity of discipline-based problem formulations and did not accept a realist philosophy of science, it is never possible precisely to unravel the dialectic in his work between non-empirical thinking and empirical enquiry. He was committed to the view that research ‘findings’ are always a function of the questions originally posed and that, equally, such findings modify post hoc the nature of those questions and pose different questions for future exploration. Maintaining this methodological

in The Bourdieu paradigm
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Dawn Lyon

these forms of empirical research. However, I also argue that they can help researchers to identify the different co-existing rhythms of everyday life in sensitive and creative ways. Overall, this approach sheds light on how we inhabit time and space and sense rhythm, in this instance in the setting of a fish market. Lefebvre's Rhythmanalysis : the body as a metronomic device Lefebvre intended rhythmanalysis as an object and tool of analysis to show how change occurs through the imprinting of new rhythms on an era (Lefebvre, 2004 : 14). He was

in Mundane Methods
Tom Woodin

80 Working-class writing and publishing in the late twentieth century 4 A beginner reader is not a beginner thinker Although the whole worker writer movement was actively reshaping the uses of literacy, a distinctive group of texts were written by adult literacy students. Creative expression was seen as central to taking control of one’s own literacy development and educational materials were produced from which others could learn. Students did not necessarily see themselves as ‘writers’ until tutors introduced them to the idea. Despite the uniqueness of

in Working-class writing and publishing in the late twentieth century
Martin Dowling

29/07/2014 09:27 Page 193 The difference of Irish music 193 form. It also opened up the autonomous development of dance itself. Here perhaps lies the basis for the great flowering of creativity reflected in collections of dance music published in the late nineteenth and early twentieth centuries. Moving closer to the present, we have yet to place in meaningful perspective the creative revival of the third quarter of the twentieth century when composers such as Ed Reavy and Paddy O’Brien, amongst others, pushed back the boundaries of the form of the music

in Are the Irish different?