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  • Manchester Studies in Imperialism x
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The sounds of liberty

of a recent song, well beyond the chronology of our study, provides an illustration of the approach we take. The lyrics to English Civil War , a song by British punk band The Clash, were self-evidently a contribution to the bitter campaign against racism underway at the end of the 1970s. As the title suggests, the song contained several references linking the fascistic National Front to Cromwell’s New

in Sounds of liberty
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Empire and law, ‘Firmly united by the circle of the British diadem’

. vii–xxxi; Cathy Cohen, ‘Punks, Bulldaggers, and Welfare Queens: The Radical Potential of Queer Politics?’, GLQ 3.4 ( 1997 ), pp. 437–465; Noreen Giffney, ‘Introduction: The “q” word’, Ashgate Companion to Queer Theory , ed. Noreen Giffney and Michael O’Rourke (Farnham: Ashgate, 2009), pp. 1–13; Leslie Moran, Daniel Monk, and Sara Beresford, eds., Legal Queeries

in Britain and its internal others, 1750–1800

found when an Aboriginal man from Western Victoria scavenges for some European bottles, only to smash them and fashion a cutting edge in the manner of traditional stone working technologies; and it is found when a punk girl in London places a safety pin in her nose. Bricolage is of course not restricted to the use of material culture. It is equally present in the manipulation of

in Colonial frontiers
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Making the Union with Ireland, 1800

Phenomenology ; Butler, Gender Trouble ; Sue-Ellen Case, ‘Tracking the Vampire’; Cohen, ‘Punks, Bulldaggers, and Welfare Queens’; Giffney, ‘Introduction: The “q” word’; Moran, Monk, and Beresford, Legal Queeries ; and Warner, Fear of a Queer Planet . 11 Brooks and Leckey, Queer Theory

in Britain and its internal others, 1750–1800