“How Can a Woman Who Has Been Raped Be Believed?”: Andrea Dworkin, Sexual Violence and the Ethics of Belief

In June 2000, Andrea Dworkin, an American feminist activist and author, published an account of being raped in a Paris hotel room a year earlier. The story was met with widespread disbelief, including from feminist readers. This article explores the reasons for this disbelief, asking how and why narratives of rape are granted – or denied – truth status by their readers. The article argues for understanding the conferral of belief as a narrative transaction involving the actions of both narrator and reader. It posits that Dworkin was widely seen as an unreliable narrator but argues that for ideologically charged narratives such as rape narratives judgements of reliability and belief inevitably draw upon the normative standpoint of the reader. I suggest that there are opposing criteria for establishing the truth of rape narratives; a ‘factual’ or legal model, which sees rape narratives as requiring scrutiny, and an ‘experiential’ model, located within certain strands of feminist politics, which emphasises the ethical importance of believing women’s narratives. The article finishes with a consideration of the place of belief within an ethics of reading and reception of rape narratives.

Oscar Wilde at Home

Oscar, Constance, Speranza (and Bosie) are “at home” in the exquisitely beautiful Florence Court House this Mayday weekend. House guests will include Jack, Algy, Gwendolen and Cecily from the Importance of Being Earnest, (not to mention the redoubtable Lady Bracknell), Lord and Lady Windermere, the impetuous Lord Darlington, and the precocious Dorian Gray. Visitors will be conducted throughout the house where a range of short scenes from Wilde’s most popular works will be performed live by actors in each of the principal rooms. Is it life or is it art? Come and decide for yourself as we welcome you to the witty, complex and contradictory world of Oscar Wilde. Conceived and directed by David Grant.

Dramatis Personae
Oscar Wilde (and Lord Henry Wotton) – Donal Morgan
Constance Wilde (Lady Wotton, and Cecily Cardew) – Julie Lamberton
Lady Speranza Wilde (Lady Bracknell and Mrs Erlynne) – Antoinette Morelli
Lord Alfred Douglas (and Dorian Gray) – Sydney Bull
Lord Darlington and Basil Hallward – Richard Croxford
Lady Windermere and Gwendolen Fairfax – Stephanie Dale
Jack Worthing – Patrick McBrearty
Algernon Moncrieff and Lord Windermere – Stefan Dunbar
Lane and Parker – Curtis Reed and tbc

Production Team
Costume Design – Enda Kenny
Sound Design – Sydney Bull
Sound Operator – Seth Taylor
Stage Manager – Bronagh McFeely
Company Manager – Eamon Quinn
Director – David Grant

Belfast Soundwalks

The Belfast Soundwalks project, led by Professor Pedro Rebelo and co-ordinated by Dr Sarah Bass (Sonic Arts Research Centre) in collaboration with Belfast City Council (BCC), aims to use sonic art to engage the public through the development of a locative mobile phone app. Targeting both tourists and citizens of the city, this project aims to sonically enhance the experience of a number of areas of the city, including destinations that may not traditionally be accessed as attractions by visitors and/or disregarded or undervalued by local residents. The project will bring together a number of sonic artists/composers who will create approximately ten soundwalks around the city, while liaising with BCC to distribute the resulting app to the public in line with their tourism and cultural strategy. The project is centred on the development of smart phone apps which provide unique listening experiences associated with key places in the city. The user’s location in the city is tracked through GPS which triggers sound materials ranging from speech to environmental sound and abstract imagined sound worlds. Additionally, local community groups will be consulted in order to evaluate and reflect upon the effectiveness of the soundwalks.

The project builds on the success of the Literary Belfast app and aims to further strengthen links between Queen’s University Belfast and Belfast City Council through facilitating the dissemination of an art form not widely experienced by the general public. Through the newly created Institute for Collaborative Research in the Humanities, directed by Professor John Thompson we are articulating this project with Queen’s consortium partners, Newcastle University and Durham University.

“The Arts and Humanities Research Council (AHRC) funds world-class, independent researchers in a wide range of subjects: ancient history, modern dance, archaeology, digital content, philosophy, English literature, design, the creative and performing arts, and much more. This financial year the AHRC will spend approximately £98m to fund research and postgraduate training in collaboration with a number of partners. The quality and range of research supported by this investment of public funds not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please go to: www.ahrc.ac.uk”.

基于局部损伤混凝土模型的FRP-混凝土界面有限元分析研究

A meso-scale finite element model is presented for investigating the FRP-concrete bond behaviour under static and dynamic loadings. It adopts a local concrete damage model. A large number of single shear tests under static pull-off loading were modeled. It is demonstrated that the developed model can satisfactorily simulate the static debonding behaviour, in terms of the load-carrying capacity and the local bond-slip behaviour. A preliminary study of the effect of the dynamic loading rate on the debonding behaviour was also conducted by considering a dynamic increase factor for the concrete strength as a function of strain rate. It is shown that a higher loading rate leads to a higher load-carrying capacity, a longer effective bond length, and a larger damaged area of concrete in the single shear loading scenario.

The Gentle Island (Staged Reading): by Brian Friel

Staged Reading on Arranmore Island, West Donegal for the Lughnasa International Friel Festival

Violence and Commemoration in the New Northern Ireland: Space, Memory and Management

On June 27th 2012, the Deputy First Minister of Northern Ireland and former IRA commander, Martin McGuinness shook hands with Queen Elizabeth II for the first time at an event in Belfast. For many the gesture symbolised the consolidation of Northern Ireland's transition to peace, the meeting of cultures and traditions, and hope for the future. Only a few weeks later however violence spilled onto the streets of north and west Belfast following a series of commemorative parades, marking a summer of hostilities. Those hostilities spread into a winter of protest, riot and discontent around flags and emblems and a year of tensions and commemorative-related violence marked again by a summer of rioting and protest in 2013. Outwardly these examples present two very different pictures of the 'new' Northern Ireland; the former of a society moving forward and putting the past behind it and the latter apparently divided over and wedded to different constructions of the past. Furthermore they revealed two very different 'places', the public handshake in the arena of public space; the rioting and fighting occurring in spaces distanced from the public sphere. This paper has also illustrated the difficulties around the ‘public management’ of conflict and transition as many within public agencies struggle with duties to uphold good relations and promote good governance within an environment of political strife, hostility and continuing violence.

This paper presents the key findings and implications of an exploratory project funded by the Arts and Humanities Research Council, explored the phenomenon of commemorative-related violence in Northern Ireland. We focus on 1) why the performance or celebration of the past can sometimes lead to violence in specific places; 2) map and analyse the levels of commemorative related violence in the past 15 years and 3) look at the public management implications of both conflict and transition at a strategic level within the public sector.

Ubiquitous Translation

In this book, Piotr Blumczynski explores the central role of translation as a key epistemological concept as well as a hermeneutic, ethical, linguistic and interpersonal practice. His argument is three-fold: (1) that translation provides a basis for genuine, exciting, serious, innovative and meaningful exchange between various areas of the humanities through both a concept (the WHAT) and a method (the HOW); (2) that, in doing so, it questions and challenges many of the traditional boundaries and offers a transdisciplinary epistemological paradigm, leading to a new understanding of quality, and thus also meaning, truth, and knowledge; and (3) that translational phenomena are studied by a broad range of disciplines in the humanities (including philosophy, theology, linguistics, and anthropology) using various, often seemingly unrelated concepts which nevertheless display a considerable degree of qualitative proximity. The common thread running through all these convictions and binding them together is the insistence that translational phenomena are ubiquitous. Because of its unconventional and innovative approach, this book will be of interest to translation studies scholars looking to situate their research within a broader transdisciplinary model, as well as to students of translation programs and practicing translators who seek a fuller understanding of why and how translation matters.

1916: A Global History

The mud-filled, blood-soaked trenches of the Low Countries and North-Eastern Europe were essential battlegrounds during the First World War, but the war reached many other corners of the globe, and events elsewhere significantly affected its course.

Covering the twelve months of 1916, eminent historian Keith Jeffery uses twelve moments from a range of locations and shows how they reverberated around the world. As well as discussing better-known battles such as Gallipoli, Verdun and the Somme, Jeffery examines Dublin, for the Easter Rising, East Africa, the Italian front, Central Asia and Russia, where the killing of Rasputin exposed the internal political weakness of the country's empire. And, in charting a wide range of wartime experience, he studies the 'intelligence war', naval engagements at Jutland and elsewhere, as well as the political consequences that ensued from the momentous US presidential election.

Using an extraordinary range of military, social and cultural sources, and relating the individual experiences on the ground to wider developments, these are the stories lost to history, the conflicts that spread beyond the sphere of Europe and the moments that transformed the war. - See more at: http://www.bloomsbury.com/uk/1916-9781408834305/#sthash.axFq0psR.dpuf

Gender and Material Culture in Britain since 1600

What does material culture tell us about gendered identities and how does gender reveal the meaning of spaces and things?

If we look at the objects that we own, covet and which surround us in our everyday culture, there is a clear connection between ideas about gender and the material world. This book explores the material culture of the past to shed light on historical experiences and identities. Some essays focus on specific objects, such as an eighteenth-century jug or a twentieth-century powder puff, others on broader material environments, such as the sixteenth-century guild or the interior of a twentieth-century pub, while still others focus on the paraphernalia associated with certain actions, such as letter-writing or maintaining eighteenth-century men's hair.

Written by scholars in a range of history-related disciplines, the essays in this book offer exposés of current research methods and interests. These demonstrate to students how a relationship between material culture and gender is being addressed, while also revealing a variety of intellectual approaches and topics.

Engaging the Senses: Object-based learning in higher education

The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of ‘active’ and ‘experiential learning’ are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students’ engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of ‘object-based learning’ as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.

Designing Bare Essentials: Aldi, Lidle and the architectures of cheapness

They’re cheap. They’re in every settlement of significance in Britain, Ireland and elsewhere. We all use them but perhaps do not always admit to it. Especially, if we are architects.
Over the past decades Aldi/Lidl low cost supermarkets have escaped from middle Europe to take over large tracts of the English speaking world remaking them according to a formula of mass-produced sheds, buff-coloured cobble-lock car parks, logos in primary colours, bare-shelves and eclectic special offers. Response within architectural discourse to this phenomenon has been largely one of indifference and such places remain, perhaps reiterating Pevsner’s controversial insights into the bicycle shed, on the peripheries of what we might term architecture. This paper seeks to explore the spatial complexities of the discount supermarket and in doing so open up a discussion on the architecture of cheapness. As a road-map, it takes former managing director Dieter Brandes’ treatise on the Aldi formula, Bare Essentials: the Aldi Way to Retailing, and investigates the strategies through which economic exigencies manifest themselves in a series of spatial tactics which involve building. Central to this is the idea of architecture as system rather than form and, in Aldi/Lidl’s case, the result of a spatial network of flows. To understand the architecture of the supermarket, then, it is necessary to measure the times and spaces of supply across the scales of intersection between global and local.
Evaluating the energy, economy and precision of such systems challenges the liminal position of the commercial, the placeless and especially the cheap within architectural discourse. As is well known, architectures of mass-production and prefabrication and their origins exercised modernist thinkers such as Sigfried Giedion and Walter Gropius in the early twentieth century and has undergone a resurgence in recent times. Meanwhile, the mapping of the hitherto overlooked forms and iconography of commerce in Learning from Las Vegas (1971) was extended by Rem Koolhaas et al into an investigation of the technologies, systems and precedents of retail in the Harvard Design School Guide to Shopping, thirty years later in 2001. While obviously always a criteria for building, to find writings on architecture which explicitly celebrate cheapness as a design virtue or, indeed, even iterate the word cheap is more difficult. Walter Gropius’ essay ‘How can we build cheaper, better, more attractive houses?’ (1927), however, situates the cheap within the discussions – articulated, amongst others, by Karl Teige and Bruno Taut – surrounding the minimal dwelling and the moral benefits of absence of the 1920s and 30s.
In our contemporary age of heightened consumption, it is perhaps fitting that an architecture of bare essentials is defined in retail rather than in housing, a commercial existenzminimum where the Miesian paradox of ‘less is more’ is resold as a paradigm of ‘more for less’ in the ubiquitous yet overlooked architectures of the discount supermarket.