Parades, flags, carnivals, and riots: Public space, contestation, and transformation in Northern Ireland.

2015 ◽  
Vol 21 (4) ◽  
pp. 565-573 ◽  
Author(s):  
Dominic Bryan
Keyword(s):  
Northern Ireland ◽  
Public Space

Au revoir, Ulster Museum

2009 ◽  
Vol 13 (2) ◽  
pp. 190-192
Author(s):  
Mark Hackett
Keyword(s):  
Civil Society ◽  
Northern Ireland ◽  
Public Space ◽  
Modern Life ◽  
The University

The Ulster Museum is destined to remain a building that stands somewhat outside time and remote from its society. The building is in two parts that are merged into one: the first Classical, designed by James Wyness and built only in part by 1929, and the second, a transformative concrete extension designed by Francis Pym for a 1963 competition judged by Leslie Martin and opened in 1972 to the most violent year of the conflict in Northern Ireland. The extension is, as Paul Clarke, of the University of Ulster has written, ‘an icon to a period when architecture addressed at the very centre of its responsibility, the optimism of modern life, culture and public space’. Now, after decades of inept alterations and unimaginative curation, its doors are closed for a refurbishment that will disassemble its central ideas together with all the optimism that Clarke alludes to – and this at a time when Northern Ireland has the chance to build the open civil society that it never had and that the museum competition project symbolised in that brief period of opportunity for change forty-six years ago.

The Regulation of Public Space in Northern Ireland

2007 ◽  
Vol 22 (4) ◽  
pp. 565-584 ◽  
Author(s):  
Ciarán O'Kelly ◽  
Dominic Bryan
Keyword(s):  
Northern Ireland ◽  
Public Space

Migrant Languages in the Public Space

2013 ◽  
Vol 22 (1) ◽  
pp. 138-140
Author(s):  
Nicola Bermingham
Keyword(s):  
Northern Ireland ◽  
Public Space ◽  
The Public

Philip McDermott (2012), Migrant Languages in the Public Space: A Case Study from Northern Ireland (Münster: LIT), 320 pp., Pb: €29.90, ISBN: 978-3643800992.

scholarly journals Rozmowa z Nadą Prlją

2014 ◽  
pp. 452-471
Author(s):  
Zofia Waślicka ◽  
Nada Prlja
Keyword(s):  
Northern Ireland ◽  
Public Space ◽  
Contemporary Art ◽  
Social Inequalities ◽  
Tourist Attraction ◽  
The Public ◽  
The Poor ◽  
The Rich

An interview with Nada Prlja Nada Prlja is an artist who works in the public space and tackles the issues of social inequalities and exclusion. During the 7th Berlin Biennale for Contemporary Art, she built a Peace Wall across Friedrichstrasse and thus she blocked the passage between the northern part of the street, which is a tourist attraction, and where expensive shops and restaurants are located; and its southern part, which is inhabited mainly by immigrants, who live in council flats. Nada Prjla tried to visualise the symbolic divide between the rich and the poor part of the street by putting the wall up, whose name alludes to the peace walls that split Protestants and Catholics in Northern Ireland. Rozmowa z Nadą PrljąNada Prlja to artystka działająca w przestrzeni publicznej, podejmująca kwestie nierówności społecznych i wykluczenia. W ramach 7. Berlińskiego Biennale Sztuki Współczesnej w 2012 roku Prlja zbudowała Peace Wall (‘Mur Pokoju’) w poprzek jezdni na Friedrichstrasse w Berlinie. Zablokowała w ten sposób ruch między turystyczną, północną częścią tej ulicy z eleganckimi restauracjami i sklepami a jej południową częścią, gdzie znajduje się zamieszkane głównie przez imigrantów osiedle budynków socjalnych. Nada Prlja postanowiła uwidocznić tę symboliczną granicę między bogatą a biedną częścią ulicy i ustawiła tam mur. Jego nazwa nawiązuje do „murów pokoju” (peace walls) oddzielających od siebie protestantów i katolików w Irlandii Północnej.

scholarly journals Defying Maintenance Mimesis: The Case of Somewhere over the Balcony by Charabanc Theatre Company

Text Matters ◽  
2018 ◽  
pp. 137-150
Author(s):  
Katarzyna Ojrzyńska
Keyword(s):  
Northern Ireland ◽  
Public Space ◽  
Local Context ◽  
Female Characters ◽  
The Troubles ◽  
Catholic Women ◽  
The Everyday ◽  
Theatre Company ◽  
Private And Public ◽  
Everyday Reality

Making reference to Luce Irigaray’s definitions of mimesis and mimicry, and the ways in which these concepts respectively reinforce and challenge the phallogocentric order, this article investigates the representation of the Troubles in the play Somewhere over the Balcony by Charabanc—a pioneering all-female theatre company which operated in Belfast in the 1980s and early 1990s. The article discusses the achievement of the company in the local context and offers a reading of Somewhere over the Balcony, Charabanc’s 1987 play which depicts the lives of underprivileged working-class Catholic women in the infamous Divis Flats in Belfast. Showing the protagonists’ struggle with the everyday reality of sectarianism in Northern Ireland, it celebrates female creativity and jouissance. The article argues that the characters challenge the masculinist order by means of mimicry. Irigaray defines this strategy as a deliberate assumption of prescribed female roles, which involves a playful attitude to “mimesis imposed”—in other words, to the programmed repetition of socially sanctioned patterns (This Sex 76). Mimicry, as well as other productive strategies help the female characters in the play to transform the balconies of their flats into an area of creativity and empowerment, which challenges binary thinking about the division into private and public space. Such a geopolitical reading of the play corresponds to the artistic agenda of the company, communicated by its very name. It also sheds light on Charabanc’s attempt to create a more inclusive and varied cultural space that would reach beyond gender, sectarian, and class divides in Northern Ireland.

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