Culture and the Irish Border:Spaces for Conflict Transformation

The Irish border has been described as a ‘natural’ cultural divide between the island's two dominant indigenous ethno-national communities. However, an examination of key resources of ethno-national group culture - religion, sport and language - provides evidence to challenge this representation. Moreover, in the post-1994 period of conflict transformation, evidence is also presented to support the proposition that the Irish border region has developed into a cultural space in which Irish nationalist and Ulster unionist ethno-national communities can explore cultural differences and commonalities through cross-border, cross-community contact and communication in small group encounters. This space underpins the reconfiguration of the border from barrier to political bridge between North and South. European Union (EU) Peace programmes for Ireland, beginning in 1995, provided the support for a cross-border approach to escaping the cage of ethno-national conflict in Northern Ireland. However, post-2004 EU enlargement signalled the beginning of the end for EU Peace funding and severe economic recession has undermined the expectation of British-Irish intergovernmental intervention to support cross-border partnerships and their work. Therefore, the outlook for the sustainability of this cross-border cultural space is gloomy with potentially deleterious consequences for the continued reconfiguration of the border from barrier to bridge.

Use of culture and molecular analysis to determine the effect of antibiotic treatment on microbial community diversity and abundance during exacerbation in patients with cystic fibrosis

Background: Anaerobic bacteria are increasingly regarded as important in cystic fibrosis (CF) pulmonary infection. The aim of this study was to determine the effect of antibiotic treatment on aerobic and anaerobic microbial community diversity and abundance during exacerbations in patients with CF.

Methods: Sputum was collected at the start and completion of antibiotic treatment of exacerbations and when clinically stable. Bacteria were quantified and identified following culture, and community composition was also examined using culture-independent methods.

Results: Pseudomonas aeruginosa or Burkholderia cepacia complex were detected by culture in 24/26 samples at the start of treatment, 22/26 samples at completion of treatment and 11/13 stable samples. Anaerobic bacteria were detected in all start of treatment and stable samples and in 23/26 completion of treatment samples. Molecular analysis showed greater bacterial diversity within sputum samples than was detected by culture; there was reasonably good agreement between the methods for the presence or absence of aerobic bacteria such as P aeruginosa (kappa=0.74) and B cepacia complex (kappa=0.92), but agreement was poorer for anaerobes. Both methods showed that the composition of the bacterial community varied between patients but remained relatively stable in most individuals despite treatment. Bacterial abundance decreased transiently following treatment, with this effect more evident for aerobes (median decrease in total viable count 2.3 x 10(7) cfu/g, p=0.005) than for anaerobes (median decrease in total viable count 3 x 10(6) cfu/g, p=0.046).

Conclusion: Antibiotic treatment targeted against aerobes had a minimal effect on abundance of anaerobes and community composition, with both culture and molecular detection methods required for comprehensive characterisation of the microbial community in the CF lung. Further studies are required to determine the clinical significance of and optimal treatment for these newly identified bacteria.

Lawyers in a Divided Society: Legal Culture and Legal Services in Northern Ireland",

Also published as Ch. 9 in Tomorrow's Lawyers (ed. P. Thomas) Oxford: Blackwell 1992. (With M. Fox.)

British Film in the 1970s: Capital, Culture and Creativity

Throughout the 1970s the British film industry struggled to produce films which performed well at the box office and appealed to audiences. As a result the decade has often been considered as one of the low points of British cinema. But was this really the case? Conventional film histories of the decade have emphasised key texts and specific genres, such as the Bond films, the Carry On series or low budget horror. Yet British cinema in this period offered a great deal more to audiences and careful study of original documents demonstrates the diversity and variety of an industry, and a decade, typically perceived as limited and unimaginative. An examination of important material – much of it newly discovered or previously underused – offers an insight into the industry in this decade while key case studies present a detailed picture of the eclectic, diverse and often challenging film culture of the period.

On Not Reading Fifty Shades:Feminism and the Fantasy of Romantic Immunity

This paper explores the politics of feminist criticism of the Fifty Shades novels as seen in both traditional media commentary and popular online news and cultural websites and blogs. I argue that much media commentary, in broadsheet and other ‘respectable’ outlets particularly, has featured avowedly feminist writers dismissing the books as ‘bad’, not only containing bad writing and bad sex but, ultimately, as being bad for their women readers. Situating these responses within a history of feminist discomfort with popular erotic and romantic fiction marketed to women I read these responses as a form of ‘anti-romantic’ fantasy in which the reader/critic is able to assert both her immunity from the romantic fantasy offered in the text and her cultural distance from those women who are subject to it. Further, this act of disavowal is often linked to a professed concern for the women who read the novel who the critic argues will, inevitably, replicate the abusive and harmful relationship dynamics that the novel represent. Such a move then positions the feminist critic as not only more culturally intelligent than women readers of the novel but enacts a fantasy of respectable, middle-class feminist cultural custodianship. Such a fantasy, I argue, is connected to the post-feminist era in which we live, which has produced a class of self-appointed ‘feminist’ cultural critics who seek to contest their own cultural marginalisation through enacting a governmental authority to worry about other women. This paper, therefore, is a critical investigation of the pleasures and politics of very publicly not reading Fifty Shades and its significance for analysing the contemporary politics of popular culture and feminism.