Irish republican media activism since the Good Friday Agreement

Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.

Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.

Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.

This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.

How the Communist Party of Great Britain discovered punk rock

11 Comrades in bondage trousers: how the Communist Party of Great Britain discovered punk rock M atthew Worley Speaking in June 1976, Paul Bradshaw, the editor of Challenge, the newspaper produced by the Young Communist League (YCL), surveyed the state of British youth culture.1 Superficially, he reasoned, things did not look good. The youth movements that helped define the 1960s had fragmented; popular music appeared depoliticised. Although glam rock had briefly offered an interesting challenge to masculine stereotypes, and reggae continued to provide a

in Labour and working-class lives

with what might seem an oddity, and must have seemed so to mainstream sociologists when Bauman published Legislators in 1987. That is, Bauman’s discussion of modernity and postmodernity also includes a discussion of modernism and postmodernism in the arts, by which I mean not just painting, but literature, music, architecture, photography and cinema – human endeavours that are usually discussed within the broad ambit of RATTANSI 9781526105875 PRINT.indd 101 24/05/2017 13:19 102 Living with postmodernity the arts, humanities and aesthetics, not social science

in Bauman and contemporary sociology
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the musician’s awareness of the music itself. For instance, in the adagio of Beethoven’s Sonata Opus 102 no. 1, the cellist is called on to play octaves in the zone of strings closest to the peg-box; it’s a perilous procedure because the cut of the fingerboard on the instrument does not easily accommodate the stretched hand pushing down two strings at once. To vibrate the strings under these conditions is a challenge, but rising to that challenge often gives these octaves the urgency the score requires, while simultaneously calming down the nervous player. What I

in Western capitalism in transition
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5 Culture Culture, Raymond Williams famously said, is one of the most complicated words in the English language. Trying to make sense of the term, Williams suggested that it has two broad meanings. The first refers to a structure of feeling; the second refers to a set of productions that reflect on and attempt to shape and mould that structure of feeling (Williams 1985). It is easier to grasp what Williams means by a set of productions: these include material and symbolic things and practices such as literature, art, music, food, clothes and building styles

in Ireland and migration in the twenty-first century
Exploring the experiences of migrant children in Irelandc

which migrant children were similar to their non-migrant peers and the considerable amount of effort they spent ‘fitting in’, often via their consumption of global consumer culture. Globally commodified cultural media such as websites, pop music, fashion, sport, film and computer games are designed to appeal to children and young people regardless of linguistic, social or other cultural boundaries. In schools and neighbourhoods in Ireland, children and young people consume and reproduce these cultural products and in doing so forge connections with each other. Migrant

in Migrations
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. Their performance could be read as a different way of dealing with loss. It mirrors what happens at many funerals. There is often laughter, music, song and dance, as well as a lot of drink, at Irish wakes. It could be argued that, if there is anything different about the Irish, it is the way they deal with desire and death. The Irish have been characterised in many different ways, as good humoured charming, hospitable and gregarious. They love a good time. They love to tease, engage in verbal word play and spar with each other. Yet they are seen to avoid intimacy and

in Are the Irish different?

of life on Chagos, experiences of the displacement, and life in exile. I illustrate these points through a comparison of songs composed by Chagos islanders on Chagos and songs composed by Chagos islanders in exile. Processes such as historical re-imagination, romanticisation of the homeland, evocations of suffering, and community mobilisation are often clearly identifiable in musical production amongst displaced peoples. In their introduction to a special issue on music and migration, Baily and Collyer note that: Music may be used to recreate the culture of the

in Chagos islanders in Mauritius and the UK

’, which, as they point out, are enhanced and rejuvenated 115 Representational self-awareness 115 by tourism. Working with tourists is a demanding job, most residents of Parara admit – it keeps them busy for most of the year and offers very few opportunities for vacations. However, almost all of them are willing to recognise that the financial rewards of this new occupation are higher than agriculture or temporary manual labour among the wider non-indigenous society. ‘Playing music, dancing and talking to tourists about your own culture’, several members of the

in Exoticisation undressed
Parade making as a cultural trope for urban policy

2 Nurturing an emergent city: parade making as a cultural trope for urban policy Jessica Symons The city inside us all I pedalled my bike down the back of Castlefield, past the canals and converted mills, over the footbridges, by the geese pecking in the grass, sun glinting in the water, refracted across the apartment windows. I barely passed a soul those early summer weekdays as I wended my way through to the industrial units which sat behind the flats. The sound of laughter and music greeted me as I locked my bike up and wandered into the expansive space

in Realising the city