Conflicts on Parade

Research output: Contribution to conferenceConference abstract for conferenceResearchpeer-review

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Conflicts on Parade. / McQuaid, Sara Dybris.

2014. Abstract from Ireland and the Popular, Ålborg, Denmark.

Research output: Contribution to conferenceConference abstract for conferenceResearchpeer-review

Harvard

McQuaid, SD 2014, 'Conflicts on Parade', Ålborg, Denmark, 07/05/2014 - 09/05/2014, .

APA

McQuaid, S. D. (2014). Conflicts on Parade. Abstract from Ireland and the Popular, Ålborg, Denmark.

CBE

McQuaid SD. 2014. Conflicts on Parade. Abstract from Ireland and the Popular, Ålborg, Denmark.

MLA

Vancouver

McQuaid SD. Conflicts on Parade. 2014. Abstract from Ireland and the Popular, Ålborg, Denmark.

Author

McQuaid, Sara Dybris. / Conflicts on Parade. Abstract from Ireland and the Popular, Ålborg, Denmark.

Bibtex

@conference{7573e0b80cf646be971f5c336b209bf0,
title = "Conflicts on Parade",
abstract = "These three papers would speak (from a distance) to the themes of ‘Attacks on popular culture, culture debates and wars’, ‘The idea of ‘the people’ in politics and history’ and ‘The visual iconography of the popular (in media, the street, museums)’ from the vantage point of the Northern Irish parading tradition.Parading is a very popular, prominent and prolific cultural phenomenon in Northern Ireland. As a politico-cultural practice, however, it is also a very contested part of the public sphere and society at large. Parades in Northern Ireland are mostly ethnically exclusive events, which rehearse a master commemorative narrative composed of a sectarian selection of events, reminding a group of its distinct social identity and historical development in a ritual performance (cf Zerubavel 1995, Connerton 1989). The protestant and loyalist master narrative commemorates a seamless sequence of protestant endurance and deliverance since the 17th century, while the commemorative calendar for nationalists and Republicans emphasise injustice, persecution and resistance, alongside nationalist and republican ideals (McBride 2001). Looking at parades in Northern Ireland, allows us to discuss more complicated notions of ‘the people’, and the place of popular culture in divided societies, as parades literally traverse terrains of political and social conflict. We start from a classical cultural studies position that a) culture is a site of struggle over meaning and b) to understand a particular aspect of contemporary culture we have to understand the complex processes through which it was (and is) constituted and the complex relations within which it was (and is) constituted.",
author = "McQuaid, {Sara Dybris}",
year = "2014",
language = "English",
note = "null ; Conference date: 07-05-2014 Through 09-05-2014",

}

RIS

TY - ABST

T1 - Conflicts on Parade

AU - McQuaid, Sara Dybris

PY - 2014

Y1 - 2014

N2 - These three papers would speak (from a distance) to the themes of ‘Attacks on popular culture, culture debates and wars’, ‘The idea of ‘the people’ in politics and history’ and ‘The visual iconography of the popular (in media, the street, museums)’ from the vantage point of the Northern Irish parading tradition.Parading is a very popular, prominent and prolific cultural phenomenon in Northern Ireland. As a politico-cultural practice, however, it is also a very contested part of the public sphere and society at large. Parades in Northern Ireland are mostly ethnically exclusive events, which rehearse a master commemorative narrative composed of a sectarian selection of events, reminding a group of its distinct social identity and historical development in a ritual performance (cf Zerubavel 1995, Connerton 1989). The protestant and loyalist master narrative commemorates a seamless sequence of protestant endurance and deliverance since the 17th century, while the commemorative calendar for nationalists and Republicans emphasise injustice, persecution and resistance, alongside nationalist and republican ideals (McBride 2001). Looking at parades in Northern Ireland, allows us to discuss more complicated notions of ‘the people’, and the place of popular culture in divided societies, as parades literally traverse terrains of political and social conflict. We start from a classical cultural studies position that a) culture is a site of struggle over meaning and b) to understand a particular aspect of contemporary culture we have to understand the complex processes through which it was (and is) constituted and the complex relations within which it was (and is) constituted.

AB - These three papers would speak (from a distance) to the themes of ‘Attacks on popular culture, culture debates and wars’, ‘The idea of ‘the people’ in politics and history’ and ‘The visual iconography of the popular (in media, the street, museums)’ from the vantage point of the Northern Irish parading tradition.Parading is a very popular, prominent and prolific cultural phenomenon in Northern Ireland. As a politico-cultural practice, however, it is also a very contested part of the public sphere and society at large. Parades in Northern Ireland are mostly ethnically exclusive events, which rehearse a master commemorative narrative composed of a sectarian selection of events, reminding a group of its distinct social identity and historical development in a ritual performance (cf Zerubavel 1995, Connerton 1989). The protestant and loyalist master narrative commemorates a seamless sequence of protestant endurance and deliverance since the 17th century, while the commemorative calendar for nationalists and Republicans emphasise injustice, persecution and resistance, alongside nationalist and republican ideals (McBride 2001). Looking at parades in Northern Ireland, allows us to discuss more complicated notions of ‘the people’, and the place of popular culture in divided societies, as parades literally traverse terrains of political and social conflict. We start from a classical cultural studies position that a) culture is a site of struggle over meaning and b) to understand a particular aspect of contemporary culture we have to understand the complex processes through which it was (and is) constituted and the complex relations within which it was (and is) constituted.

M3 - Conference abstract for conference

ER -