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.

Dublin 1916: theatre of revolt

At Easter 1916, Dublin city centre was one of a series of sites throughout Ireland where a rebellion was staged against British rule. It was a strategic failure, swiftly crushed by superior British forces. The event, however, subsequently took a central role in the mythology of modern Ireland.

The first visual representations were of the conflict’s aftermath: photographic journeys through landscapes of ruin. From the distance of the camera, we see none of the pockmarks of shell bursts, nor the etchings of machine guns. Instead, traces of life in the city seem to have been swept aside by an unseen hand: the passing of millennia or a violent action of nature. Architecture alone has witnessed and recorded its presence. Amongst the fragments, the shell of the General Post Office (G.P.O.) in Sackville Street is one of the few buildings still wholly recognizable. The remnants of its classical form, portico and pediment, columns and entablature seem to transcend its prosaic modern functions and allude to something more ancient. The bewilderment of city’s inhabitants is also recorded. Dubliners have become inquisitive tourists in streets which hitherto were the locus of everyday life. They wander around aimlessly in a landscape as alien and picturesque as Pompeii. This shift in perception was captured by the Irish poet W.B. Yeats who hinted that Dublin, purged of modern commercialism had transcended its petty inadequacies to revive a slumbering heroic past.

‘I have met them at the close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses [.]’
All is changed, changed utterly:
A terrible beauty is born.’

His comments were prescient. Initially unpopular, the republican leaders, executed by the British, slowly became recast as heroic martyrs. Similarly, the spaces where their heroism was forged became venerated. The G.P.O. and Sackville Street, however, already had a republican history. It was originally conceived in the eighteenth century as part of a series of magnificent urban spaces to provide an arena of spectacle and self-celebration for the colonial Anglo-Irish and their vision of a Protestant republic. O’Connell/Sackville Street became the temporal, geographical and mythical hinge upon which two different versions of Irish republicanism waxed and waned. Its recasting after independence as a space of Catholic Nationalism bore testimony to its consistency in providing a backdrop for the production of ritual and myth. In the 1920s and 30s, as the nascent country, beset with economic stagnation and political tensions, turned to spectacle as a salve for it social problems, O’Connell Street and the G.P.O. provided its most sacred sites. Within the introduction of new myths, however, individual as well as national identities were created and consolidated. The emerging identity of modern Ireland became inextricably linked with that of one ambitious politician. His uses of the G.P.O. in particular revealed a perceptive understanding of the political uses of classical architecture and urban space.

Marcial e a "Epopeia do quotidiano" : a dimensão épica de um poeta

O século I, que desabrochou numa Idade de Ouro, não findaria sob o signo da boa Fortuna inaugurada pelo primeiro Princeps. O século de Augusto conheceria o seu fim! A Literatura não pôde furtar-se ao fatum de todo um Império e, depois de 69, juntamente com a Magna Vrbs, aguardava um tempo que fosse, finalmente, capaz de uma renovação. Para os anos oitenta do século I, prometiam os Flavianos e as suas consecuções uma nova Aurea Aetas… Porém, revelou-se impossível recuperar o passado: então, como nunca antes, os abastados demandavam a púrpura e a populaça clamava por panem et circenses. E a mudança definitiva dos tempos tinha na produção artística das suas maiores provas — a clientela condenara os autores ao abandono! Longe os círculos de Mecenas, apoiando Horácios e Virgílios que podiam abraçar em exclusivo a sua arte… Marcus Valerius Martialis foi não apenas um autor cuja existência se ressentiria dos constrangimentos que esta época reservou aos poetas, como o que faria da sua obra o mais fiel espelho do seu tempo. Aliás, não fora a sua obra e não se compreenderia cabalmente como foi possível a um escritor sobreviver a esses tempos e trazer à luz o seu trabalho — a uma luz muito especial, na verdade: Hic est quem legis ille, quem requiris, / toto notus in orbe Martialis (1.1.1-2)! Para cantar o novo Império e o seu quotidiano, onde conviviam, a um tempo, a grandeza e a torpeza, nada melhor que uma rude auena, jocosa e mordaz... O epigrama, não a epopeia, era a nova voz de Roma! E Marcial, elevando a sua auena, aplicou toda a sua mestria na celebração da sua Roma e dos Romanos seus concidadãos — hominem pagina nostra sapit (10.4.10). Teremos nós perdido um épico talentoso que se devotou e à sua arte a um género menor ou teremos ganho um cantor ímpar que viveu em perfeita harmonia com o seu tempo? Alcançando a imortalidade, reservada, antes, para os épicos, Marcial alcançou o seu objetivo: si […] / [...] fas est cineri me superesse meo (7.44.7- 8). E, no entanto, o feito singular de Marcial foi dar cumprimento às suas palavras — angusta cantare licet uidearis auena, / dum tua multorum uincat auena tubas. (8.3.21-22) —, escrevendo, sob a forma de epigramas, a primeira e, talvez, a única epopeia do quotidiano!

Magna Charta and Parliament 1900-1914

In 1915 plans for the celebration of the 700th anniversary of Magna Carta had to be dropped following the outbreak of the First World War. Such celebrations marked a sense of Magna Carta as an event in the history of these islands. The usage of the term Magna Carta in Parliament in the run-up to the First World War, however, shows that its granting was not seen only as a significant historical event to be memorialised. During the period from 1900, opening with war in South Africa and ending in 1914 with war throughout Europe, the Great Charter was mentioned 85 times in Parliament. As a period marked by a lengthy constitutional crisis in 1909-11 and beset with problems in Ireland and the Empire, this seems like a good case study period to choose. This short paper attempts to analyse how and why it was invoked in Parliament in the years and what these various usages tell us about how Magna Carta was understood at the time.

Potencialidades e utilização do espaço recreio: um estudo desenvolvido em escolas do 1.º ciclo do ensino básico

Dissertação apresentada para a obtenção do grau de Mestre em Educação - Área de Especialização em Didática das Ciências

A importância do contrato de compra e venda internacional de mercadorias pelo empresariado de Cabinda em Angola

Dissertação de Mestrado apresentado ao Instituto Superior de Contabilidade e Administração do Porto para obtenção de grau de Mestre em Empreendedorismo e Internacionalização, sob a orientação da Professora Doutora Manuela Maria Ribeiro da Silva Patrício

Projeto de internacionalização de uma microempresa do setor de venda de componentes de elevadores

Trabalho de Projeto de Mestrado apresentado ao Instituto Superior de Contabilidade e Administração do Porto para a obtenção do grau de Mestre em Empreendedorismo e Internacionalização sob orientação da Doutora Celsa Maria Carvalho Machado

Registre de Henri Stercke, trésorier de l'ordre de la Toison d'Or, en remplacement de Jean Micault.

Contient : 1 Lettres écrites audit « Henry Stercke,... receveur general des finances de l'empereur... en recommandacion d'icelluy estat de tresorier de l'ordre », par « PHELIPPES DE CROY,... de Beaulmont, le 9e de sept. 1539... M. DE HORNES,... de Brame Chasteau, ce 13e de sept. 1539 », et « FLORYS,... de Bveren, le 16e de sept. 1539 ». Copies ; 2 Commission de trésorier dudit ordre, donnée audit Stercke par l'empereur CHARLES-QUINT. Bruxelles, 27 octobre 1540. Copie ; 3 Serment prêté par ledit trésorier en la ville de Bruxelles, le 27 octobre 1540 ; 4 « Copie de la lectre » écrite par « MARIE,... royne douaigière de Hongrie, de Bohême, etc., regente, etc. », à la veuve et aux enfants de Jean « Micault », précédent trésorier de l'ordre, les requérant et, « de par l'empereur », son « seingneur et frere », leur ordonnant « par inventoire delivrer à Henry Stercke, receveur general des finances de Sa Majesté, tous et quelzconques les aornements, colliers, habillemens, habiz, livres et registres » de l'ordre de la Toison d'or. Bruxelles, 22 octobre 1539 ; 5 « Copie du récépissé. Inventoire des joyaulx et baghes de l'ordre du Thoison d'or », remis par « dame Liévine van Cats, vefve, et les enffans de... J. Micault », en vertu de la lettre ci-dessus, et délivrés à « H. Stercke,... le 14e jour de nov. 1539 », lequel en accuse réception, le 21 nov. de la même année ; 6 « Extrait des ordonnances concernant icelluy office de tresorier de l'ordre » ; 7 « Addicions d'icelles ordonnances pour icelluy office, comme s'enssuyt » ; 8 « Chevalliers trespassez depuis le chapitre de l'ordre tenu en Tournay » en décembre 1531 ; 9 Colliers dudit ordre reçus par H. Stercke depuis son entrée en l'office de trésorier. 1539-1541 ; 10 Déclaration des colliers apportés de « Reghensbourg » à Bruxelles par « Franchois de Taxis, maistre des postes de l'empereur », par ordonnance de S. M., et delivrés audit « H. Stercke » ; 11 Livres des statuts dudit ordre apportés et délivrés audit trésorier par ledit F. de Taxis ; 12 Autres colliers reçus par ledit trésorier, de 1541 à 1545 ; 13 Lettre de récépissé dudit trésorier donnée à Nicolas Du Trieu, aide de la garde-robe de l'empereur, de plusieurs accoutrements de S. M. servant pour tenir l'ordre de la Toison d'or. Utrecht, 19 janvier 1545-6. Copie ; 14 Ornements d'église que l'empereur a commandé faire faire pour la chapelle de l'ordre de la Toison d'or à Dijon ; 15 Anvers, 18 mai 1540. Ordonnance de l'empereur pour la délivrance desdits ornements à « Jehan Thibault, chanoine » en ladite chapelle, et récépissé dudit J. Thibault. Copies ; 16 « Chevalliers de l'ordre ayant perdu leurs colliers de l'ordre en fait de guerre et aultrement en affaire honnourable, et ausquelz ledit tresorier a baillé nouveaulx colliers à l'ordonnance et ainsi qui s'enssuyt ». 1542 à 1544 ; 17 « Solempnitez tenues à Bruxelles » du 29 novembre au 1er décembre 1543 ; 18 « Lettres closes, que l'empereur escript à pluseurs rois, princes, ducz, contes et seigneurs, tous chevaliers de son ordre du Thoison d'or, pour le fait et chapitre dud. ordre, délibéré et conclu tenir en la ville d'Utrecht, le 3e jour de may 1544 ». Bruxelles, le 16 décembre 1543 ; 19 « Aultres et nouvelles lectres escriptes de par » l'empereur « aux chevaliers de son ordre... affin d'eulx trouver en sad. ville d'Utrecht au » 30 « novembre 1545... pour illecq sollempniser et tenir led. chapitre d'icelluy ordre » qui n'avait pu avoir lieu le 3 mai 1544 ; 20 « Comment les tableaux, ou les armes et blasons des chevaliers » de l'« ordre ont esté mises et posées en l'eglise cathedrale à Utrecht » pour le chapitre tenu les 2, 3 et 4 janvier 1545-6 ; 21 Habillements que le trésorier doit porter chacun des trois jours du chapitre ; 22 Ordre que doivent tenir les quatre officiers dudit ordre en allant à l'église ; 23 Récépissé d'une cotte d'armes donné par « FRANCHOIS, bastard DE FALLAIX, dit Thoison d'or », à « Henry Stercke ». 22 août 1545. Copie ; 24 Copie du privilège accordé aux chevaliers de la Toison d'or et aux quatre officiers de l'ordre par Charles, duc de Bourgogne, et renouvelé par MAXIMILIEN, son gendre, « duc d'Austrice, de Bourgoigne », etc. Bruxelles, octobre 1478 ; 25 « Translation de la bulle du sainct concille de Basle », adressée à Philippe le Bon, duc de Bourgogne, et aux chevaliers de la Toison d'or, « congratulatoire sur l'erection et institucion » dudit ordre « à la deffense de la saincte foy catholicque, et exhortatoire à lad. saincte oeuvre ». Bâle, 4 novembre 1432 ; 26 « Espitre pour tenir et celebrer la noble feste du Thoison d'or », par « OLIVIER, seigneur DE LA MARCHE », adressée à Philippe le Beau, père de Charles-Quint, en 1501 ; 27 « Forme de l'indiction et insinuation du chapitre du tres insigne ordre du Thoison d'or, de la celebration d'icelluy et des sollempnitez et cerimonies y requises, prinse et extraicte des statutz dud. ordre, de diverses instructions, mémoires et ordonnances, et des registres des chapitres, actes et cerimonies d'iceulx, puis l'institution d'icelluy ordre, et redigiez par escript par LAURENS DU BLIOUL, seigneur DU SART, chevalier, secretaire et greffier... ». Ce traité, dont la rédaction est approuvée par les trois autres officiers dudit ordre, « Phelippe Nigri, ...Jehan Micault,... et Thomas Ysacq », qui l'adressent à l'empereur, conjointement avec le Sr Du Sart, le 4e de novembre 1534, est suivi d'une lettre « du Sr Du Sart,... à monseigneur de Grantvelles, premier conseillier d'Estat dudict Sr empereur, chief, etc., touchant lad. matière », de même date ; 28 « La description et la declaration par noms et surnoms de monseigneur le premier fondateur, ensemble de messrs ses successeurs, chiefs et souverains, et des très nobles roys, princes et autres chevalliers, confrères et compaignons du noble ordre de la Thoison d'or, par distinction et speciffication du temps et des chapitres, et lieux où et quant lesd. chevaliers ont esté esleuz et accompaignez oudict ordre »

Granite Unveiling

As part of the celebration of the 200th anniversary of Sir Isaac Brock's birth on October 6, 1969, a piece of granite from Isaac Brock's childhood home in Guernsey was unveiled along with a plaque commemorating the ties between the General, the University, and Guernsey. The granite had been donated by Sir William Arnold, Bailiff of Guernsey, two years prior and had been in the possession of the university since that time before it was unveiled. The granite block was integrated into a wall in the Thistle Complex. It has since been relocated and is now part of a wall in the Walker Complex. Pictured here from left to right are: Sir William Arnold, Mrs. Arnold, Dr. Gibson and Governor General Michener.

Speech of Com. Jesse Duncan Elliott, U.S.N. delivered in Hagerstown, Md. on 14th November, 1843.-

Published by the Committee of Arrangement of Washington County, Maryland.

Women’s Literary Club of St. Catharines Fonds

The Women's Literary Club of St. Catharines was founded in 1892 by a local author, Emma Harvey (Mrs. J.G.) Currie (1829-1913) and held its last official meeting on February 19, 1994. The Club developed, flourished and eventually waned. After more than one hundred successful years, the last members deposited the Club's archives at Brock University for the benefit of researchers, scholars and the larger community. The ‘object of the Club’ was established as “the promotion of literary pursuits.” The Club was a non-profit social organization composed of predominantly white, upper middle class women from the St. Catharines and surrounding areas. Club meetings were traditionally held fortnightly from March to December each year. The last meeting of the year was a celebration of their Club anniversary. The early meetings of the Club include papers presented and music performed by Club members. The literary pursuits that would dominate the agendas for the entire life of the Club reflected an interest in selected authors, national and local history, classical history, musical performances and current cultural and newsworthy events. For example in 1893 a typical meeting agendas would contain papers on Henry Wadsworth Longfellow, Hawaii, Brook Farm, Miss Louisa May Alcott and “Education of Women 100 years Ago.” Within the first year of the Club’s existence, detailed minute books became the norm and an annual agenda or program developed. The WLC collection contains a near complete set of meeting minutes from 1892 until 1995 and a comprehensive collection of yearly programs from 1983-1967 which members took great care to publish each year. Mrs. Currie brought together a group of women with a shared interest in literature and history, who wanted to pursue that interest in a formal and structured manner. She was well educated and influenced at an early age by her tutor and mentor William Kirby, local historian, writer and newspaper editor from Niagara-on-the-Lake. While Currie’s private education influenced her love of literature and history, the Club movement of the 1890’s offered a more public forum for her to share knowledge and learning with other women. Mrs. Currie was the wife of St. Catharines lawyer, James G. Currie, who also served as a Member of Parliament for the county of Lincoln. Mrs. W.H. McClive, who was also married to a St. Catharines lawyer, worked closely with Currie and they began research into the possibility of a literary Club in St. Catharines. Currie corresponded with a variety of literary Clubs across North America before she and Mrs.McClive tagged onto the momentum of the Club movement and published “A Clarion call for Women of St. Catharines To Form a Literary Club” in the local paper The St. Catharines Evening Journal. in 1892 and asked like Clubs to publish the news of their new Club. The early years of the WLC set the foundation of how the Club meetings and events would unfold for the next 80 plus years. Photos and minutes from the first ten years reveal an excitement and interest in organized Club outings. One particular event, an annual pilgrimage to the homestead of Laura Secord, became a yearly celebration for the Club. Club President, Mrs. Currie’s own personal work on Laura Secord amplified the Club’s interest in the ‘heroine of 1812’ and she allocated the profits from her publication on Secord in order to create a commemorative plaque/monument in the name of Laura Secord. The Club celebrated this event with a regular pilgrimage to this site. The connection felt by Club members and this memorial would continue until the Club’s last meetings. The majority of members in the early years were of the upper middle classes in the growing city of St. Catharines. Many of the charter members were the wives of merchants, business men, lawyers, doctors, even a hatter. Furthermore, the position of president was most often held by a woman with a comprehensive list of interests. This is particularly the case in Isabel Brighty McComb (1876-1941). Brighty who became a member in 1903, became Club president in 1932 and stayed in her post until her death in 1941. Similar to Mrs. Currie, Brighty was a local historian and published 2 booklets on local history. Her obituary indicates her position in the community as an author and involved community member committed to lifetime memberships in the Imperial Order of Daughters of Empire, I.O.D.E., the National Organization of Women, N.O.W. and the United Empire Loyalist Society, as well as the WLC. She was a locally known ‘teacher of elocution’ and a devoted researcher of Upper Canadian history. In a Club scrapbook dedicated to her, the biographical sketch illustrates the professionalism surrounding Brighty. There is very little personal history mentioned and the focus is on her literary works, her published essay, booklets and poetry. This professional focus, evident in both her obituary and the scrapbook, illustrate the diversity of these women, especially in their roles outside of the home. The WLC collection contains a vast array of essay, lectures clippings and scrapbooks from past meetings. Organized predominantly by topic or author, the folders and scrapbooks offer a substantial amount of research opportunity in the literary history of Canada. The dates, scope of topics and authors covered offer historians an exciting opportunity to examine the consumption of particular literary trends, artists and topics within the context of a midsized industrial city in English Canada. This is especially important because the agenda adhered to by the Club was bent on promoting, discussing and reviewing predominantly Canadian material. By connecting when and what these women were studying, scholars many gain a better understanding of the broader consumption and appreciation of literary and social trends of Canadian women outside of publishing and institutional records. Furthermore, because the agendas were set by and for these women, outside of the constructs of an institutionalized canon or agenda, they offer a fresh and on the ground examination of literary consumption over an extensive length of time.

Metal music as critical dystopia : humans, technology and the future in 1990s science fiction metal

Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal seeks to demonstrate that the dystopian elements in metal music are not merely or necessarily a sonic celebration of disaster. Rather, metal music's fascination with dystopian imagery is often critical in intent, borrowing themes and imagery from other literary and cinematic traditions in an effort to express a form of social commentary. The artists and musical works examined in this thesis maintain strong ties with the science fiction genre, in particular, and tum to science fiction conventions in order to examine the long-term implications of humanity's complex relationship with advanced technology. Situating metal's engagements with science fiction in relation to a broader practice of blending science fiction and popular music and to the technophobic tradition in writing and film, this thesis analyzes the works of two science fiction metal bands, VOlvod and Fear Factory, and provides close readings of four futuristic albums from the mid to late 1990s that address humanity's relationship with advanced technology in musical and visual imagery as well as lyrics. These recorded texts, described here as cyber metal for their preoccupation with technology in subject matter and in sound, represent prime examples of the critical dystopia in metal music. While these albums identify contemporary problems as the root bf devastation yet to come, their musical narratives leave room for the possibility of hope , allowing for the chance that dystopia is not our inevitable future.

Lini Richarda Grol Fonds, 1946-2007

Lini Richarda Grol was originally born in Nijmegen, Netherlands in 1913 and immigrated to Canada in 1954 after working as a nurse in South America for three years from 1951 to 1954. She was granted her first Canadian passport in 1961 and worked full-time as nurse at the Welland County Hospital. While nursing she would enroll in writing courses at McMaster University and Ryerson Polytechnical Institute, now Ryerson University. Eventually she decided to dedicate herself to her writing and artwork and began to only work as a nurse part-time and then later opened the Fonthill Studio to devote herself to her writing and artwork full-time. Her status as an immigrant and career as a nurse provided inspiration for much of her writing and she frequently tackles the experience of the female immigrant in her works. Her first publication was in 1938 in a small literary and women’s magazines in Holland and Belgium and her first work of poetry was entitled Stive Gedachten. None of these publications exist in this archive. Her most well-known publication, Liberation, centers around her experiences leading up to and after the liberation of Holland during World War II. Grol was, and continues to be a prolific writer in the Niagara Region and has been published in the Welland Tribune, Pelham Herald, Thorold News, Parent Magazine, Dunville Chronicle, and various Christian publications and literary newsletters and journals. Grol also started her own poetry magazine entitled Canadian Poets Pen Club to help aspiring writers get published. Perhaps her most recognized achievement was the inclusion of one of her poems and the recognition of her novel Liberation into the Thank You Canada Day celebration in May 1970. Grol participated in many local writers’ groups such as the Welland Writer’s Club, and the Canadian Author’s Association. Grol was membership secretary for the Canadian Author’s Association in 1984. She also founded a writer’s club in 1995 in her retirement home, Holland Christian Homes where members meet to talk about their poems and short stories either in English or Dutch. Participating in and creating a writers’ community is integral to Grol’s identity as an author and can be related to the feelings of isolation she felt as an immigrant to Canada. Grol also hosted her own television shows entitled Discovery with Lini Grol which featured guests, usually local artists and writers, and Holland en Hollanders a cultural program for Dutch immigrants. Grol’s most recent activities include the publication of a one act play entitled Peppermint Problems [1996] and a short story entitled “When our War started in Rotterdam” [2004]. In 1994, she moved to Brampton, Ontario into a Christian retirement center called Holland Christian Homes. For further biographical information about Grol see two books contained within this collection Women of Action [1976] and Something About the Author [1976].