theatre and classical music were given as the main reasons for visiting the city centre by the respondents in a study by Mike Savage et al.,5 a contemporaneous survey of local arts attendance showed market penetration at below the national average in almost Wolff and Savage, Culture in Manchester.indd 176 14/08/2013 11:37:36 C u lt u r e , pa r t ici pat i o n a n d i d e n t i t y 177 two-thirds of Manchester and Greater Manchester postcodes, with annual attendance rates at arts venues averaging out at 20 per cent of the population.6 Accordingly, what I want to

in Culture in Manchester
Open Access (free)
Public anger in research (and social media)

accessed 22 May 2016]. 1 The term ‘culture jamming’ was coined in 1984 by Don Joyce of the experimental music band Negativland, and since then has become more widely used to mean the appropriation and subversion of media representations. See Chandler and Neumark ( 2005 ).

in Go home?
Abstract only
Settling in

French Government. Second, local connections continue to be important for immigrant communities. As was apparent in interviews with rap artist C-it, he may consider himself Turkish and not French (despite his French citizenship), but his sense of community, his neighbourhood – or ‘hood’, in the street language of rap music – is his particular district of Chambéry, France, and the multiethnic population that lives there. Ruşen Yıldız, unlike C-it, expresses little attachment to Turkish identity, but with his emphasis on ‘migritude’, and connection to immigrants as a

in Turkish immigration, art and narratives of home in France
Extending the critique of Bauman’s first exposition of postmodernity and postmodernism

ephemeral as experienced in the modern world (Berman 1982: 15). The point is that modernity is a far more contradictory phenomenon than it appears in Bauman’s analysis – although he does refer to Simmel’s ambivalence in relation to modernity – and Bauman overlooks the contradictions in the cultural movements that sprang up in the early part of the twentieth century such as Cubism and Dadaism in art, atonality in the music of Schoenberg or the fractured narratives of the literature of the day. It is not surprising that Bradbury and McFarlane (1976: 13), in discussing

in Bauman and contemporary sociology

literatures, histories and music. Their efforts to promote cultural distinctiveness sought to assert that the Irish were a distinct nation deserving of their own nation-state. During the nineteenth century states sought to cage nations, and ethnic groups sought states that demarcated those who shared the same culture and language from other cultural and linguistic groups. Nationbuilding goals of fostering cultural homogeneity and the creation of new mass identities co-existed alongside other forms of social modernisation. Sociologists who have focused on nationalism have

in Irish adventures in nation-building
Abstract only
Revisiting the 1980s through a generation lens

- SSO of Vojvodina - SSO in the Yugoslav People's Army (re-introduced in1974) Collective/interestbased members Republic conference Basic organisation Municipal/city organisation University organisation - Youth Hostelling League - Music Youth - People's Engineering - Red Cross - Scouts' League - League of Organisations for Physical Education - Pioneers' League - Esperanto League Figure 1  Structure of the SSOJ (see Figure 1). By combining oral history interviews and archival and other primary material the book seeks to map both the institutional youth sphere and

in The last Yugoslav generation
Abstract only
Same city but a different place?

surrounded and sheltered by the Black and Divis mountains which are natural beauties still worth beholding. Belfast today is full of activities and festivals such as the recent Taste and Music Festival in Botanic, the Cinemagic Film Festival and the yearly continental market held at City Hall which hosts a variety of exotic foods and music bringing the world closer to

in Teens and territory in ‘post-conflict’ Belfast
The political nationalism of the Irish diaspora since the 1790s

upon the sword as a sacred weapon.’29 This rhetoric was music to the ears of the ’98 exiles and their descendants in America. In New Orleans, for example, Irish immigrants founded an ‘Emmet Club’ to support Young Ireland and collected over £1,000 to send to its leader, William Smith O’Brien.30 184 british and irish diasporas In Britain, too, Irish immigrants showed their radical colours, bringing with them their secret society traditions. The focus here is the United States, but the revolutionary Atlantic connected American, French and Irish radical traditions

in British and Irish diasporas
Abstract only
Leisure and sporting activities

put Leeds on the sporting map. They were running up to forty shows a week in thirty cities in England and Scotland. Arthur travelled the world, even visiting Arab countries to sign up wrestlers. Wrestlers were feted wherever they went and became the sporting superstars of the day. Arthur continued to promote boxing, promoting Londsdale Belt Championship bouts in the 1950s, and brought Floyd Patterson over to the UK to fight Henry Cooper in 1966. He became involved in the promotion of pop music concerts with Bernard Hinchcliffe and in 1963 they launched ‘all night

in Leeds and its Jewish Community
The English since 1800

comparison with the ebullient and assertive popular nationalism of Hungarian, Czech, Finnish and Russian art and music’.106 Tombs accepts that this applied best to the English in England, for they had no reason to pronounce on their identity. But for those abroad (echoing Seeley) components of identity were acutely needed.107 As with French and German cultures, England’s variety was cosmopolitan and commercial. It was, Tombs says, a world-culture. Certainly, several of England’s most important cultural figures (e.g. William Shakespeare and Charles Dickens) were global

in British and Irish diasporas