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Cautionary tales and oral tradition in early modern England

’, though the term itself – a conscious Anglo-Saxon revival – was only coined in 1846, by the antiquary William Thoms in a letter printed in the weekly magazine The Athenaeum.29 And whereas the origins of the movement to collect and classify ‘popular antiquities’ have often been located in the sense of estrangement 178 Reformed folklore? eighteenth- and nineteenth-century intellectuals felt from the culture of the ‘vulgar’,30 this was surely in part a consequence of the very processes we have been exploring. Two hundred years earlier reforming zeal was a powerful

in The spoken word
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Racist State: British Imperialism and the Union of South Africa, 1875–1910 (Trenton: Africa World Press, 1996) and Timothy Keegan, Colonial South Africa and the Origins of the Racial Order (London: Leicester University Press, 1996). 36 For discussions of the commodification of black diasporic popular cultures see, for example, Ben Carrington, ‘Fear of a Black Athlete: Masculinity, Politics and the Body’, New Formations: A Journal of Culture/Theory/Politics, 45 (2001), pp. 91–110, and Paul Gilroy, Against Race: Imagining Political Culture Beyond the Color Line

in Postcolonial contraventions
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Culture, criticism, theory since 1990

have been arguably enhanced rather than vitiated by his comfortable negotiation of the elite political sphere and royalty. The energy and anger driving much Irish popular music in the late 1970s and early 1980s, reflected 9780719075636_4_002.qxd 16/2/09 9:23 AM Page 21 Culture, criticism, theory 21 in the campaigning of Bono and Geldof, can be set against the internationalism of acts such as the Corrs, Boyzone and Westlife in recent years. Whereas the former period was characterised by the questioning of pieties, this export brand wore its connection to

in Irish literature since 1990
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, and seeks to provide a mechanism for actors to co-operate and build mutual understanding despite these differences. It is a means by which community can be built from the bottom up, and by which socialization can occur at both popular and elite levels through active citizenship, iterated contact, and social learning (Christiano 1997). Further assets of deliberative democracy in the EU context are its adaptability, ability to generate a culture of voluntary compliance, and correspondence with the EU culture of informal politics and inter-institutional dialogue (see

in Democratization through the looking-glass
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Reading practices and participation in digital and medieval media

free to read the end of the story first if they wish’.11 In the field of popular media, journalist Nicolas Carr turns to print history, and even the culture of medieval manuscripts, to argue that today’s digital media negatively affect intelligence and attentiveness.12 As these and similar comments suggest, examining how participation functions in a particular work or media context can raise awareness of how its accompanying instructions or design can facilitate or restrict agency. These critiques, however, all too often elide use and the discourse and evidence of

in Participatory reading in late-medieval England

developments in Caribbean culture came from elsewhere. Working in the early morning cool in my office, the rattle of my typewriter echoed that of Brathwaite working in the History Department above, and we became friends. He was working on poems he was to build into his longer work, Rights of Passage (1967), and researching into Jamaican popular culture. 9 When I was

in West Indian intellectuals in Britain

demonstrated how imperial culture was made by complex modes of reception and appropriation, how ideas about empire, citizenship, and identity were forged in encounters and experiences ‘on the ground’, as it were, and how colonial knowledge was always imperfect and partial. The Delhi durbar was the greatest act in the performance of imperial culture by British royals. The royal jeweller crafted a lighter

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
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Class cultures, the trade unions and the Labour Party

working class and a defeatist and fatalistic working-class culture. The workers demanded only to be left alone (1998:161). Men may have occupied a public world centred on work, but collective opinion prohibited any enthusiasm for work that may have separated the individual from the norms of the larger group. A churlish ‘folk-Marxism’, independent of actual party-political allegiances, was not uncommon. Manual labour was the source of all value, in this view, though not white-collar clerical labour or that of officialdom – both of which, according to popular prejudice

in Interpreting the Labour Party
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Lillian Leitzel’s celebrity, agency and her performed femininity

9 Aerial star Lillian Leitzel’s celebrity, agency and her performed femininity Kate Holmes Circus was one of the largest mass live entertainments of the early twentieth century and was an industry that secured its popularity through a number of female stars. These women’s careers were not only established by the highest-profile circuses but also contributed to their success. Although circus has been the focus of numerous memoirs or popular histories, few recent layered historical analyses of this complex entertainment form exist. As such, the female performers

in Stage women, 1900–50
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Entanglements and ambiguities

Fetishism ; David Warren Sabean , Power in the Blood: Popular Culture and Village Discourse in Early Modern Germany ( Cambridge : Cambridge University Press , 1984 ); Dirks, The Hollow Crown ; Rosaldo, Ilongot Headhunting . 77 A few indicative examples include Comaroff and Comaroff, Of Revelation and Revolution

in Subjects of modernity