Abstract In this article I start from an understanding of songs as socio-cultural discourses which may also perform a political function. This political function can be reflected in the promotion of particular world-views about given socio-political events and/or in the attempt by the singer to make the audience perform given political actions. To prove this, I will look at the re-contextualisation process undergone by a well-known song by U2: “Sunday, Bloody Sunday” (1983). This song was originally written to respond to the violence of the Northern Irish conflict, but it has been later used to react to other socio-political events. By relying on a cognitive approach to the study of songs, this paper tries to answer two questions: (i) how can we explain the re-contextualisation process undergone by the song and why is it possible? and (ii) how is politics embedded in musical performances?

中文翻译：

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从爱尔兰到美国

摘要 在本文中，我首先将歌曲理解为社会文化话语，它也可能具有政治功能。这种政治功能可以反映在对特定社会政治事件的特定世界观的宣传和/或歌手试图让观众执行特定的政治行动中。为了证明这一点，我将看看 U2 的一首著名歌曲“星期天，血腥星期天”（1983）所经历的重新语境化过程。这首歌最初是为了回应北爱尔兰冲突的暴力而写的，但后来被用来回应其他社会政治事件。本文通过对歌曲研究的认知方法，试图回答两个问题：(i) 我们如何解释歌曲所经历的重新语境化过程，为什么会这样？(ii) 政治如何嵌入音乐表演中？