Belfast: Portfolio

TY - ADVS

T1 - Belfast

T2 - Portfolio

A2 - Antick, Paul

PY - 2017/12

Y1 - 2017/12

N2 - This portfolio contains 3 related projects, the combination of which forms a single REF submission. They are:• 'Performing Memory and Securitisation in Belfast' (book chapter)• 'Smith in Belfast (expurgated): a radiophonic ethnodrama' (radio broadcast)• 'Smith in Belfast (unexpurgated): a radiophonic ethnodrama' (webstream)Note that the 'Performing Memory' folder also contains 'Belfast images', a pdf containing detailed versions of the photographs that appear in the 'Performing Memory' piece.Contextualising statement:The way that ‘historical memory’ resonates in everyday life; the way it's often complicated by those that speak of it and through it; anxieties about the relationship between Brexit and the political status of Northern Ireland - these provide the conceptual and historical backdrop for the two related pieces that comprise this submission. It is, however, the institutional context of their distribution which is perhaps as significant, in terms of the generation of their meaning and value, as the content of the texts themselves. Although the environments in which they appear – an academic book and online journal, the implied audiences for which are professional academics and students of international relations and / or anthropology; and an ‘experimental’ radio station – are both relatively restricted, each piece, largely as a result of the context in which it appears, still performs specific, relatively significant functions. The authority invested in them by the symbolic value of the book in which Performing Memory appears – which is published by Palgrave, a ‘reputable’ academic publisher – as well as Resonance FM and Extreme Anthropology – a ‘reputable’ ‘alternative’ broadcaster and a highly ranked academic journal – secures their legitimation in ways that are pedagogically and ideologically useful. Precisely because they appear to prove that the type of history writing engendered by ‘experimental’ pieces like these – where the facts of history are displaced by the ‘facts’ of postmodernist history writing – is an acceptable (or accepted) way to write history - albeit in restricted contexts. If both pieces appear on undergraduate course reading lists – the case with previous Smith and Willing projects – then perhaps the most valuable thing about them, as ‘research’, is not primarily their content, but the very fact of their legitimation, and the significance of this for the production and circulation of ‘alternative’ forms of history writing in general.

AB - This portfolio contains 3 related projects, the combination of which forms a single REF submission. They are:• 'Performing Memory and Securitisation in Belfast' (book chapter)• 'Smith in Belfast (expurgated): a radiophonic ethnodrama' (radio broadcast)• 'Smith in Belfast (unexpurgated): a radiophonic ethnodrama' (webstream)Note that the 'Performing Memory' folder also contains 'Belfast images', a pdf containing detailed versions of the photographs that appear in the 'Performing Memory' piece.Contextualising statement:The way that ‘historical memory’ resonates in everyday life; the way it's often complicated by those that speak of it and through it; anxieties about the relationship between Brexit and the political status of Northern Ireland - these provide the conceptual and historical backdrop for the two related pieces that comprise this submission. It is, however, the institutional context of their distribution which is perhaps as significant, in terms of the generation of their meaning and value, as the content of the texts themselves. Although the environments in which they appear – an academic book and online journal, the implied audiences for which are professional academics and students of international relations and / or anthropology; and an ‘experimental’ radio station – are both relatively restricted, each piece, largely as a result of the context in which it appears, still performs specific, relatively significant functions. The authority invested in them by the symbolic value of the book in which Performing Memory appears – which is published by Palgrave, a ‘reputable’ academic publisher – as well as Resonance FM and Extreme Anthropology – a ‘reputable’ ‘alternative’ broadcaster and a highly ranked academic journal – secures their legitimation in ways that are pedagogically and ideologically useful. Precisely because they appear to prove that the type of history writing engendered by ‘experimental’ pieces like these – where the facts of history are displaced by the ‘facts’ of postmodernist history writing – is an acceptable (or accepted) way to write history - albeit in restricted contexts. If both pieces appear on undergraduate course reading lists – the case with previous Smith and Willing projects – then perhaps the most valuable thing about them, as ‘research’, is not primarily their content, but the very fact of their legitimation, and the significance of this for the production and circulation of ‘alternative’ forms of history writing in general.

M3 - Performance

ER -