Abstract: In June 2001, almost a year after the downfall of Slobodan Milosevic’s authoritarian regime, Serbia’s first ever Pride Parade was abandoned half-way through due to violent attacks by members of Serbian ultranationalist groups. Eight years later, in March 2009, the Serbian Parliament adopted the first comprehensive anti-discrimination law – Law on the Prohibition of Discrimination 2009 (the Anti-Discrimination Law), prohibiting discrimination on a number of grounds, including sexual orientation. Encouraged by the adoption of this law, the Serbian LGBT community announced plans to organise the second Pride Parade on 20 September 2009 in Belgrade. However, the 2009 Parade organisers were met with strong opposition, not only from far-right groups, but also from some political parties and the Serbian Orthodox Church. After a long anti-Pride campaign, the 2009 Parade was finally called off due to lack of security assurances. The police announced that they could not guarantee the safety of the marchers and urged the organisers to change venue from the main Belgrade streets to another location. The organisers found that proposal unacceptable. The cancellation, or rather banning,2 of the 2009 Pride Parade was strongly criticised by both domestic Homophobia and Hate Speech in Serbian Public Discourse: How Nationalist Myths and Stereotypes Influence Prejudices against the LGBT Minority

Abstract: Introduction: The Age of World Wars Part I: The Specter of Americanization 1. Triumphant Arrivals 2. Reluctant Hosts Part II: Parisian Cultural Politics 3. The Sacco-Vanzetti Riots 4. Prefect Chiappe's Purging of Paris Part III: American Political Culture 5. Legionnaires on Parade 6. The Expatriates Reconsidered Epilogue: The Beginning of American Innocence Notes Bibliography Index

Abstract: The Spell of the Spectacle: The Pushkin Celebrations of 1949 The festivities dedicated to the 150th anniversary of Pushkin's birth, lasting from mid-April through early July 1949, were the second-greatest mass spectacle of the early Cold War after the Victory Parade. Echoing the sumptuous Pushkin Celebrations of 1937, the postwar jubilee was well rehearsed and artfully engineered. It included such preliminaries as an AllUnion Pushkin Conference at the Institute of Russian Literature of the Academy of Sciences; a Joint Session of the Academy's Literature and Language, and History and Philosophy Departments; the reopening following the restoration of the Pushkin memorial apartment, and the laying of the foundation of the Pushkin monument in Leningrad; the post-renovation inauguration of the Pushkin estate in Mikhailovskoe, in the Pskov region; and the opening of a Pushkin obelisk in Zakharovo, near Moscow. In the course of three months, Pushkin scholars around the country reportedly delivered 219 public lectures, while Leningrad curators conducted 300 excursions around the Pushkin Museum. Twenty-seven thousand people took part in these activities; 10,000 more gathered for a meeting at the Pushkin monument in Moscow a day before the poet's birthday. These statistical data were documented in the Proceedings of the Anniversary Celebrations published by the Academy of Sciences. According to Konstantin Simonov, then laureate of four Stalin Prizes and editor-in-chief of Novyi Mir, the scope of the jubilee underscored the greatness of the "Stalin era, which for the first time in the history of humanity made [...] Pushkin's oeuvre the common property of all the people." (1) Although this was a common trope regarding other pre-revolutionary writers as well, Simonov's speech had distinctive political relevance. He delivered these words on 6 June 1949, at the Pushkin Session at the Bolshoi Theater in Moscow, with Stalin present. Sitting in the presidium, the Generalissimo again was the obvious other hero of the occasion. And yet there was a big difference between 1937 and 1949 concerning the nature of Stalin's "glory." After the war, Simonov and other speakers addressed their eulogies to Stalin the winner, laying words at his feet like the Victory Parade soldiers had laid the banners of the conquered enemy. War rhetoric permeated the Pushkin Celebrations of 1949. But however productive it is to consider the jubilee a spectacle of national recovery from war wounds, (2) it was the Cold War that served as its underlying "trauma" and informed the speakers' and journalists' choices of arguments and tropes. Speaking of Pushkin's "significance for the entire world," Stalin's ideologues, first and foremost, were referring to the geopolitical delineations recently established on a global scale. They also took into account the ongoing campaign against "servility toward the West" (nizkopoklonstvo pered zapadom), (3) which was aimed at rooting out fascination with foreign arts and literature among Soviet citizens and curbing their awareness of Russia's indebtedness to the Western cultural heritage. Seeking to detect and destroy the new "inner adversary" in Soviet society, the "servility" campaign had erected a wall between the Soviet intelligentsia and the people. My goal is to trace rhetorical outlines of these ideological boundaries and compare them to Pushkin's ideas about Russia's relationship to Europe and a writer's place within his or her society. Two keynote speakers at the Pushkin Session at the Bolshoy, Simonov and Aleksandr Fadeev, evoked Cold War alienation paradigms in their presentations. The first to speak, Fadeev attacked the "enemies of our socialist country, the enemies of their own nations, the lackeys of bourgeois culture, who [...] cover their [...] dependence on their coaches, the imperialists, with shrieks about 'freedom' and 'democracy.'" (4) These words, borrowed from newspaper editorials, were a standard contribution to the Soviet project of defining the external Cold War enemy. …

Abstract: This article analyzes how the Chinese Communist Party (CCP) used the 60-year anniversary of the People’s Republic of China to construct its legitimacy. We analyze the elaborate celebrations, which involved not only a large-scale military parade, but also a civilian pageant and

Abstract: In the last decade Iranian Americans have increasingly taken to the same streets and fairgrounds as Irish, German, and Puerto Rican American communities before them to hold ethnic parades and festivals to assert their cultural and ethnic identity to an American public often hostile to Middle Eastern immigrants. Through interviews and visual analysis of the New York Persian Day Parade, one of more than 180 annual ethnic parades in Manhattan, I track, analyze, and compare the use of space, signs, and performance to argue that Iranian American public events such as the parade offer productive case studies of diasporic reappropriations of local genres used to present selective views of homeland and diaspora to diverse audiences. Furthermore, these public diaspora events do as much to continuously negotiate Iranian diaspora identity across generations as they do to represent Iran to non-Iranian spectators. In this study, I utilize methods from visual anthropology to examine parade and festival events through use of photography and video while also assessing production and reception to evaluate the ways in which visual representations in public performances can lead to and themselves reveal contested visions of diasporic identities.

Abstract: OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate School of Arts and Sciences of Northeastern University, April, 2011

Abstract: Records of the creation, generational transmission and eventual decline of an Aboriginal ritualistic Kurannup Song and Dance ceremony are presented. They are supposed to have been adapted from the Marines parade they witnessed when the British ship Investigator was anchored in King George Sound, Western Australia in 1801.

Abstract: One of the primary concerns in the lean construction community has been understanding and managing the combined impact of variability and interdependency on construction performance. The parade game has been extensively utilised for enhancing construction practitioners’ intuitive understanding of construction production systems. However, the current parade game does not incorporate managerial actions that are usually taken in practice to offset the impact of variability of activity duration or productivity. These managerial actions often radically change the production profile (e.g., quantity of resources, level of production capacity); thereby significantly affecting project performance. For this reason, exclusion of managerial actions in the parade game can result in less realistic estimation of project performance. Also, given that the pedagogical value of a simulation-based game can be maximised by user interaction, managerial actions are a key element that should be incorporated in the parade game. Based on this recognition, this paper aims to develop an interactive simulation game as an extension of the current parade game. For application in the construction education setting, this game incorporates managerial decision making processes and highlights trade-offs associated with managerial decision. Being developed as an Internet-based application which can be accessed through any platform, the interactive parade game has been applied in construction education. Its application showed that the interactive parade game can successfully help students to actively participate in the learning processes and discuss their findings, and to gain a deeper understanding of the dynamics of construction production systems.

Abstract: A land of English men and English maids, of the best people and good birth, of church and heroes, "God's England," Sir Edward Elgar's "Land of Hope and Glory"—yet for Christopher Tietjens, the "central observer" of Ford Madox Ford's tetralogy Parade's End, the "backbone" of modern England—government and church, empire, heroes, and glory—is "rotten" (Ford, It Was the Nightingale 215; Ford, Parade's End 106).1 "English History," as Ford himself writes in the late 1920s, may be "relatively easy to grasp because in it it is not difficult to see a pattern of what someone has called Freedom slowly broadening down from precedent to precedent" (English Novel 9). Yet, as Parade's End glances back from the 1920s over the years surrounding the First World War, this apparently obvious pattern of his torical development culminates not in "Freedom" but in the deterioration of social institutions and England itself, leaving Christopher Tietjens and his young suffragist companion Valentine Wannop to support, in Ford's

Abstract: In an age when printed publications required royal licenses in Spain, and theatrical works from 1615 onward likewise required licenses for performance, authors could not openly criticise the crown without risking suppression of their texts or more severe sanctions. Even texts that obtained such licenses were still subject to expurgation or outright prohibition by ecclesiastical and civil authorities. As scholars have shown, however, these conditions did not impose an obsequious silence on dissentient voices (Sullivan 1990, 143; Kahn 2008, 39-40). " Explicit criticism of the monarch, even had it been possible […], was unnecessary, " Melveena McKendrick observes (2000, 36). Instead, writers employed techniques of distancing and indirection, ambiguity and abstraction to overcome the constraints of censorship. Publishing circumstances that might well be perceived as repressive ultimately served to promote a refined subtlety and ingenuity of expression in subversive discourse. The Golden-Age comedia has been the object of most scholarly attention in this regard. The present study shows how similar techniques of oblique representation and abstraction in poetry of the period could enhance a critique of power. I take as my example Francisco de Quevedo's sonnet posthumously titled " Desengaño de la exterior apariencia con el examen interior y verdadero. " This sonnet, by keeping its critique of particular Habsburg authority below the surface, constitutes an imaginative instruction and artful exercise in how to regard shows of power more generally. The poem is also subtly specular, inviting readers to consider

Abstract: This paper examines a controversial affair during Rio de Janeiro's 2008 Carnival parade, involving a Holocaust float banned by Jewish community representatives. The episode serves as a case study for discussing Brazil's main cultural strategies for dealing with its diverse social formation. The paper evaluates the impact of such particular modes of sociability on the decision to ban the float, while pondering over the challenges of Brazilian–Jewish cultural interactions in a global era.

Abstract: The Eaton’s Santa Claus parade in Toronto emerged as form of “commercial spectacle,” forged in the decades after the First World War, that blended older and newer forms of popular culture with the changing dynamics of family, audience, community, and commerce. Although it was a local event, its creators were part of a network of parade-makers in the big cities of North America, who shared ideas and drew upon the same cultural forms. With the advent of television, the Santa Claus parade reached a wider audience across the country. In between the parade’s local performance and its Canadian audience lies the creation of a metropolitan spectacle, a local event that not only synthesized international ideas and fit into larger networks of cultural producers, but also had broader reach, projecting power and influence outward to a vast economic and cultural space. La parade du pere Noel d’Eaton s’est transformee en « spectacle commercial », forge au fil des decennies qui ont suivi la Premiere Guerre mondiale, alliant des formes plus anciennes et plus modernes de culture populaire a la dynamique changeante de la famille, du public, de la collectivite et du commerce. Meme s’il s’agissait d’un evenement local, ses createurs faisaient partie d’un reseau d’organisateurs de parades, s’etendant aux grandes villes d’Amerique du Nord, nourrissant les memes idees et s’inspirant des memes formes culturelles. L’avenement de la television a permis a la parade du pere Noel d’atteindre un auditoire plus vaste a l’echelle du pays. Entre sa production locale et son auditoire canadien repose le berceau d’un spectacle metropolitain, d’un evenement local qui, en plus d’etre le creuset d’idees venues d’ailleurs et de se rallier a de plus vastes reseaux de producteurs culturels, jouissait d’un plus grand rayonnement, brillant de sa puissance et de son influence sur un vaste espace economique et culturel.

Abstract: The fierce looking Clan MacDuibhne make a fine shock troop at the head of the Clan Parade. Bystanders, Scots and tourists, cheer and take photographs. 'Looks like the Jacobites have returned at last', observes an elderly gentleman, and a group of Spanish tourists ponder whether the Clansmen's strange language is Gaelic. It is, in fact, Bavarian, an alpine German dialect The fictitious Clan MacDuibhne are a troupe of historical re-enactors who have flown in from Southern Germany. They decided that if Homecoming Scotland 2009 was all about kilts and pipes and clans, they surely were entitled to come home, too. They were right and ended up leading the Clan Parade.

Abstract: Book six of Virgil’s Aeneid concludes with the reunion scene of Anchises and Aeneas which leads to the revelation of the gens that Aeneas will father in Italy (... Romanam condere gentem, Aen. 1.33). In the scheme of a pompa, which includes elements of a pompa triumphalis,1 Anchises describes the victorious course of the Romans in history from their mythical origins down to the time of Augustus. However, the triumphant spirit of the parade is tempered by the greeting scene between Anchises and Aeneas that precedes the prophetic speech of Anchises, and the funus of Marcellus at the end of the procession of Roman leaders. These scenes connect the pageant with funeral iconography and the idea – Etruscan in origin – of the journey of the dead to the afterlife.2 Specifically, the posture of Anchises palmas utrasque tetendit (Aen. 6.685) and Aeneas’ request da iungere dextram (Aen. 6.697) reminded Virgil’s

Abstract: While the 2008 Beijing Olympics Opening ceremony (gunts & ebersol, 2008, august 8) is an orthodox example of a chinese political and economic parade, it was approached through the geographical relocation of Western audiences, and performance through broadcast media, and the reshaping of chinese ancient history and traditional philosophy presented as simulacrum (Baudrillard, 1994) of chinese aesthetics through the contemporary digital hyperreal1 environment. irrespective of the West acknowledging the already-changed perception of china’s extracting Western technological resources, the aesthetic manifestation of the Opening2 revealed to the world that china is innovative in its own way.

Abstract: If Manhattan is a Caribbean cultural pole, it is the Spanish-speaking Caribbean that is of the greatest visibility, as represented by the annual Puerto Rico Day Parade and the Desfile de la Hispani...

Abstract: For the first time, the four novels that make up Ford Madox Ford's First World War masterpiece, Parade's End, are published in fully annotated editions. This is volume three. The text comprises a 10,000 word Introduction and a 10,000 word Note on the Text, as well as detailed annotations as to historical and biographical references, military terms and topical allusions. There is also a full textual apparatus including transcriptions of significant deletions and revisions made as Ford worked on his text in the mid 1920s.

Abstract: In the last couple of years, Russia has on several occasions engaged in historical memory combat with some of its neighbours. In May 2009 Russian President Dmitry Medvedev established a special presidential wide ranging commission for ‘historic truth’ with the goal ‘to counteract against attempts to falsify history that undermine the interests of Russia’. This political statement, which some commentators saw as having ‘strategic importance’, was published on the eve of the military parade in Moscow to commemorate the Second World War Victory Day. This move to defend the motherland against ‘the falsifiers of history’ was directed at, among others, Ukraine and the Baltic states, but even more so against internal dissent (Felgenhauer 2009). The suppression of freedom of speech is one of the most pointed attacks on human rights in Russia and now Russia has officially opened ‘the history wars’ as a new frontier.

Abstract: Charles Van Onselen's Masked Raiders is reviewed comparatively to suggest that Irish identities are always contested; that during early capitalist competition, like that in the Old Transvaal before Union, amateur “primitive rebels” or “outlaw heroes” cannot match harder professional accumulators, like Cecil John Rhodes; that murder is not heroic; that subaltern history is inevitably about subalterns, who cannot rationally be promoted to “lead the parade”; and that Rhodes and his ilk made a major contribution to the long run project, begun in the 17th century, which culminated in English's dominating the world by the 21st century; whereas the primitive bandits in question, whether hanged, shot dead, jailed or escaped, were largely irrelevant to history, despite the fascination with which humans approach the murderous criminal mind.

Abstract: Band members wait in Birchard Park to start the Sauerkraut Festival Parade in Fremont, Ohio.