Transforming Post-Catholic Ireland: Religious Practice in Late Modernity

Transforming Post-Catholic Ireland is the first major book to explore the dynamic religious landscape of contemporary Ireland, north and south, and to analyse the island’s religious transition. It confirms that the Catholic Church’s long-standing ‘monopoly’ has well and truly disintegrated, replaced by a mixed, post-Catholic religious ‘market’ featuring new and growing expressions of Protestantism, as well as other religions. It describes how people of faith are developing ‘extra-institutional’ expressions of religion, keeping their faith alive outside or in addition to the institutional Catholic Church.

Drawing on island-wide surveys of clergy and laypeople, as well as more than 100 interviews, this book describes how people of faith are engaging with key issues such as increased diversity, reconciliation to overcome the island’s sectarian past, and ecumenism. It argues that extra-institutional religion is especially well-suited to address these and other issues due to its freedom and flexibility when compared to traditional religious institutions. It describes how those who practice extra-institutional religion have experienced personal transformation, and analyses the extent that they have contributed to wider religious, social, and political change. On an island where religion has caused much pain, from clerical sexual abuse scandals, to sectarian violence, to a frosty reception for some immigrants, those who practice their faith outside traditional religious institutions may hold the key to transforming post-Catholic Ireland into a more reconciled society.

Emotions & social change in Ireland:Exploring habitus shift in liquid modernity

Drawing on insights from a range of disciplines, including philosophy, psychology, history, politics, but particularly sociology and sociological theory, this thesis explores the relationship between emotions and social change in late or 'liquid' modernity. It deploys the Republic of Ireland in the twentieth century as a case study. It argues that the Irish case in an ideal site for this research given the speed and scale of changes that have occurred there, particularly since the 1950's. The primary research question guiding the study is: What has been the effect of 'social change' in Ireland on the emotional lives of Irish people? The thesis is structured in three parts. Part one (chapters one to three) is primarily theoretical. It aims to develop a distinctive theoretical framework, process-relational realism, and argues that three concepts, properly treated, are central to answering the research question. These are emotion, power and (emotional) habitus. Part two is a bridging chapter, in which the empirical portion of the study, its design and method, are outlined. This study is based on a series of qualitative life-history interviews conducted using the Biographical Narrative Research Method. Part three is primarily empirical. The first chapter critically explores Bauman's concept of liquid modernity in relation to the Irish case and offers a short social history of the Irish twentieth century, which focuses on emotions and power. The second deploys two (ideal-type) interview cases to support the argument that Ireland experienced a habitus shift, from a relatively homogeneous to a heterogeneous habitus, and a corresponding shift from a relatively repressive emotional regime to a more expressive one, with significant effects on the emotional habitus. The final chapter takes a broader view of these changes, suggests that social change has been ambivalent, and outlines a new typology of emotional pathologies that the study suggests are characteristic of contemporary emotional life.

Unsettling modernity: Shifting values and changing housing styles in the Kathmandu Valley

Abstract

Culture has always been important for the character of the cities, as have the civic and public institutions that sustain a lifestyle and provide an identity. Substantial evidence of the unique historical, urban civilisation remains within the traditional settlements in the Kathmandu Valley in Nepal; manifested in houses, palaces, temples, rest houses, open spaces, festivals, rituals, customs and cultural institutions. Indigenous knowledge and practices prescribed the arrangement of houses, roads and urban spaces giving the city a distinctive physical form, character and a unique oriental nativeness. In technical sense, these societies did not have written rules for guiding development. In recent decades, the urban culture of the city has been changing with the forces of urbanisation and globalisation and the demand for new buildings and spaces. New residential design is increasingly dominated by distinctive patterns of Western suburban ideal comprising detached or semi-detached homes and high rise tower blocks. This architectural iconoclasm can be construed as a rather crude response to the indigenous culture and built form. The paper attempts to dismantle the current tension between traditional and contemporary ‘culture’ (and hence society) and housing (or built form) in the Kathmandu Valley by engaging in a discussion that cuts across space, time and meaning of architecture as we know it.

A box in the field: modernity and the barn in twentieth-century Ireland

This paper argues that the modern barn in Ireland is a complex social and architectural phenomena that is without, or has yet to find, a satisfactory discourse. Emerging in the middle third of the twentieth century, the modern barn – replete with corrugated iron and I-sections – continues to represent a presence in the Irish landscape whose ubiquity is as emphatic as its flexibility. It is, however, its universal properties that begin to suggest connections with wider narratives. The modernising aspects of the barn that appear in the 1920s and 30s begin to conflate with a rhetoric of architectural modernism which was simultaneously appearing across Europe. But while the relationship between high modernism’s critique of what it divined as the inspirational qualities of utilitarian buildings – Walter Gropius on grain silos, Le Corbusier on aircraft hangers etc. – has been well-documented, in Ireland this relationship perhaps contains another layer of complexity.
The barn’s consolidation as a modern type coincided with the search for a nation’s cultural identity after centuries of colonial rule. This tended to be an introspective vision that prioritised rural space over urban space, agriculture over industry, and imagined the small farm as a central tenet in the construction of a new State. This paper suggests that the twentieth-century barn – as a product of the mechanisation of agriculture promoted by the new administrations – is an iconic structure, emblematic of attempts to reconcile the contradictory forces and imagery of modernity with the mores of a traditional society. Moreover, given a cultural purview that was often ambivalent or even hostile to the ideologies and forms of modernity, the barn in Ireland is, perhaps, not so much the inspiration but the realisation of an architectural modernism in that country at its most pervasive, enduring and unself-conscious.

Emotions & Power:Habitus and Change in Late Modernity

(Under contract)

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

Mapping cosmopolis: moral topographies of the medieval city

Cosmopolis is a concept that has a long history in many cultures around the globe. It is a mirroring of the 'social' and 'natural' worlds, such that in one is seen the order and the structures of the other -- a mutual 'mapping'. In this paper I examine how the presence of cosmopolis -- a Christianised cosmopolis of the European Middle Ages -- was made evident in the representation and formation of cities at that time. I reveal a dualism between the social and spatial ordering of both city and cosmos which defined and reinforced social and spatial boundaries in urban landscapes, evident for example in the 11th and 12th centuries. Recently, Toulmin (1992) has taken the idea of cosmopolis to argue that it has been a persistent presence in Western - Enlightenment science, philosophy, and religion -- a 'hidden agenda of modernity'. I contend that, as an idea, cosmopolis has a much earlier circulation in European thinking, not least in the Middle Ages. Locating cosmopolis in the medieval and the modern periods then begs a question of what is it that really makes the two distinct and separate? All too often human geographers have emphasised discontinuities between the 'medieval' and 'modern' age, locating the 'rise of modernity' some time in the Enlightenment period. However, what 'mapping' cosmopolis reveals are continuities, binding time and space together, which when looked at begin to help query the modernity concept itself.

Rambling in the Field of Modern Identity: Some Speculations on Irish Traditional Music

This article argues that Irish “traditional” music is modern in its form and history, and explores the ramifications of this thesis for understanding of the peculiarities of Irish modernity and identity. The article exhaustively surveys the historiography of Irish traditional music and uniquely interprets this literature in relation to competing conceptions of identity and modernity articulated by Taylor, Appiah and Žižek. It also interprets Irish traditional music in relation to conceptions of Irish modernity articulated in a wide range of disciplines within Irish studies. Reflecting on the author’s lifelong engagement with traditional music performance, the article argues that the resilience of traditional music within the broader culture is connected to the peculiar character of Irish modernity, and that it suffers from problems of aesthetic exhaustion shared by much modern art in the contemporary conjuncture.

Reflexive Modernisation and Social Work in Ireland: A Response to Powell

The aim of this article is respond to some of the issues addressed by Powell (1998). It focuses on his consideration of the role and task of social work within a changing society. I argue that, before postulations about the future role of social work in Ireland can be made, consideration of its current nature and the form of its discourses are necessary. I then go on to critique Powell's analysis of social work in the context of concepts such as empowerment, participation and prevention and argue that, by failing to consider the necessarily regulatory and centralized nature of much of Irish social work currently, such an analysis remains merely rhetorical. Powell's reference to the Irish Association of Social Workers' Code of Ethics (1995) as evidence of social work entering a period of reflexive modernity is also examined. The article concludes with a call for a move away from utopian speculation within Irish social work discourse towards a more realistic and constructive analysis of both the future potential and the limitations of Irish social work, given its spatial and discursive constraints.

Grassroots mobilisations against waste disposal sites in Greece

The government of Greece has gained notoriety for its failure to implement EU environmental directives in general, and is criticised specifically for its lack of an effective plan for the safe disposal of waste. Local mobilisations against a series of planned 'Sanitary Waste Disposal Sites' (HETAs) in three municipalities of Attica are examined. Should such protests be classified as NIMBY (not in my backyard)? Or do they present broader claims of justice and equity? Qualitative analysis of the protesters' on-line campaign material reveals that while these mobilisations do demonstrate some NIMBY characteristics, such campaigns should rather be perceived as ad hoc mobilisations reflective of tensions of late modernity. The public's mistrust of science and concerns about democratic deficit and accountability, as well as different perceptions of risk, are prominent.

Alasdair MacIntyre and the Hope for a Politics of Virtuous Interdependence

Rebellion, philosophic and political, impels the work of Alasdair MacIntyre. Neither of the left nor the right, he treads a borderline path between conservatism and radicalism in holding to a socialist Thomistic Aristotelianism underpinned by a deliberative ‘ethic of care’ that is implacably opposed to modernity and the advanced capitalist nation-state. The depth of this opposition arouses strong opinions in friend and foe alike. To some he is an eminently dispensable reactionary whose sole consistent feature is an inexplicable ‘hatred of liberal individualism’ (Lessnoff 1999: 4). To others he appears a revolutionary enunciating a departure capable of legitimating the activities of ordinary persons so ‘that previously isolated struggles might be transformed into a new class war of attrition’ (Knight 1996: 896). However, neither interpretation rings true. MacIntyre does develop a cogent critique of the present, but this critique points in directions towards which no politics could hope to move.

Filming and Performing Renaissance History

Over the last one hundred years, many of the events and personalities of the sixteenth and seventeenth centuries have been brought before home, cinema, exhibition, festival and theatrical audiences via a variety of visual media. This collection, for the first time, examines these representations, looking at recent television series, documentaries, feature films, pageantry, theatre and popular culture in a range of cultural and linguistic guises. Filming and Performing Renaissance History opens up wider avenues of interpretive opportunity and substitutes a more generous, nuanced acknowledgement of the ways in which the 'Renaissance' is made to signify across disciplines and in relation to a whole series of events and personalities. Accessing the Renaissance in this fashion generates a genuine sense of the modalities of historical representation, of what the Renaissance 'means' and of how its meanings have been negotiated in modernity.

Dilemmatic human-animal boundaries in Britain and Romania: Post-materialist and materialist dehumanization

Theories of dehumanization generally assume a single clear-cut, value-free and non-dilemmatic boundary between the categories 'human' and 'animal'. The present study highlights the relevance of dilemmas involved in drawing that boundary. In six focus groups carried out in Romania and Britain, 42 participants were challenged to think about dilemmas pertaining to animal and human life. Four themes were identified: rational autonomy, sentience, speciesism and maintaining materialist and post-materialist values. Sentience made animals resemble humans, while humans' rational autonomy made them distinctive. Speciesism underlay the human participants' prioritization of their own interests over those of animals, and a conservative consensus that the existing social system could not change supported this speciesism when it was challenged. Romanian participants appealed to Romania's lack of modernity and British participants to Britain's modernity to justify such conservatism. The findings suggest that the human-animal boundary is not essentialized; rather it seems that such boundary is constructed in a dilemmatic and post hoc way. Implications for theories of dehumanization are discussed.