By Neil Blain, Hugh O'Donnell
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Traditionally underpinned, this research focuses particularly at the interval from the Eighties onward and searching ahead into the hot century. The authors commence their research with the phenomenon of the British Royal relatives and their courting with modern Britain during the media. This then extends right into a comparative research of monarchy throughout Eurpoe, in its relation to political tradition, together with the republican culture.
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Extra info for Media, Monarchy and Power: the Postmodern Culture in Europe
Some members of the Family become fair game in this respect, Prince Edward and his hapless bride Sophie having been good for scapegoating at the turn of the century. As we shall see, Diana herself occupied such a role in the period before her death. This structural system of continual realignment is very flexible, and with only two or three actors, not all of whom need even be alive, it can – dramaturgically – become sustainingly complex. The narrative demands made by the British media on the British royals are infinite 32 Modern and Postmodern Monarchy and eternal.
But Wilson also reproduces in his eulogy an entire ideological cluster, as do most accounts of the monarchy and royal family. First, what may appear to be a minor observation; he ends his piece by noting that ‘all decent British people today give three loud cheers’, which rather puts the rest of us in our place, a process John Thompson refers to as ‘fragmentation’, an ideological strategy used alongside ‘unification’ (Thompson, 1990: 59–73). Wilson also notes how the Queen Mother ‘thoroughly enjoyed being the Queen of England’, further problematizing the ‘we’ of the heading, given the Queen Mother’s Scottish identity.
Wilson also notes how the Queen Mother ‘thoroughly enjoyed being the Queen of England’, further problematizing the ‘we’ of the heading, given the Queen Mother’s Scottish identity. Wilson argues, interestingly, that ‘unlike other popular public figures, whether royal or political’, the Queen Mother produces no ‘cult of personality’ since she never gives interviews and since biographies of her are ‘largely fiction’. Tom Nairn, writing in the 25 Media, Monarchy and Power late 1980s before exposure to royal interviews was quite as great as it has latterly become, observes that: What the theatre of Royal obsession sustains is not (real) personality, therefore, in the ordinary sense of individuality or idiosyncracy.
Media, Monarchy and Power: the Postmodern Culture in Europe by Neil Blain, Hugh O'Donnell