Cut down by some cowardly miscreants’: Plant maiming, or the Malicious Cutting of Plants as an Act of Protest in Eighteenth and Nineteenth Century Rural England

Since the publication of Hobsbawm and Rudé's Captain Swing our understanding of the role(s) of covert protests in Hanoverian rural England has advanced considerably. Whilst we now know much about the dramatic practices of incendiarism and animal maiming and the voices of resistance in seemingly straightforward acquisitive acts, one major gap remains. Despite the fact that almost thirty years have passed since E. P. Thompson brought to our attention that under the notorious ‘Black Act’ the malicious cutting of trees was a capital offence, no subsequent research has been published. This paper seeks to address this major lacuna by systematically analysing the practices and patterns of malicious attacks on plants (‘plant maiming’) in the context of late eighteenth- and early nineteenth-century southern England. It is shown that not only did plant maiming take many different forms, attacking every conceivable type of flora, but also that it was universally understood and practised. In some communities plant maiming was the protestors' weapon of choice. As a social practice it therefore embodied wider community beliefs regarding the defence of plebeian livelihoods and identities.

Optomechanical to mechanical entanglement transformation

We present a scheme for generating entanglement between two mechanical oscillators that have never interacted with each other by using an entanglement-swapping protocol. The system under study consists of a Michelson-Morley interferometer comprising mechanical systems embodied by two cantilevers. Each of them is coupled to a field mode via the radiation pressure mechanism. Entanglement between the two mechanical systems is set by measuring the output modes of the interferometer. We also propose a control mechanism for the amount of entanglement based on path-length difference between the two arms.

Patrimonio e Identidad en la Investigación Educativa Basada en las Artes desde un Enfoque Multimodal

Este artículo describe dos experiencias de investigación de nuestro grupo interconectadas, la primera desarrollada durante el año 2007 a través del proyecto internacional CALVINO del Programa Cultura 2000 de la Unión Europea, y la segunda implementada durante el año 2014 en el marco del Proyecto Investigación e Innovación en Secundaria en Andalucía (PIIISA). Ambos proyectos tienen en común el eje temático de la identidad a partir de una idea de patrimonio y el hecho de haber puesto en práctica metodologías de investigación basadas en las artes visuales con un enfoque multimodal. Desde estos dos puntos de anclaje relativos a la temática (qué) y a la metodología (cómo) analizamos lo acontecido para obtener conclusiones relevantes que, por una parte, pongan en valor estas prácticas significativas y, por otra, aporten nuestra experiencia para futuras propuestas de investigación en el ámbito temático y/o metodológico.

When Shiels met Liberace: a skirmish with the canon of Irish theatre

Just Shiels, the product of one of the first practice as research programmes undertaken by a theatre professional within the environment of an Irish university, ‘activates’ in performance the archives of the Northern Irish dramatist George Shiels (1881–1949). The play explores Shiels's marginalization from the canon of Irish theatre on grounds of his embodied position as a disabled person, his status as a Northerner writing plays to be performed across the border in the new free Irish state, his geographical peripherality to the centre of theatrical activity in Dublin and his choice of popular forms in his dramaturgy. Just Shiels was first performed in May 2008 at Queen's University Drama Centre, Belfast. This article seeks to explore to what degree Shiels's choice of popular forms and his serious physical impairment might be implicated in his marginalization. It was first delivered as a plenary session to the American Conference for Irish Studies in New York, in October 2008.

Manipulating and protecting entanglement by means of spin environments

We study the dynamical behavior of two initially entangled qubits, each locally coupled to an environment embodied by an interacting spin chain. We consider energy-exchange qubit-environment couplings resulting in rich and highly non-trivial entanglement dynamics. We obtain exact results for the time evolution of the concurrence between the two qubits and find that, by tuning the interaction parameters, one can freeze the dynamics of entanglement, therefore inhibiting their relaxation into the spin environments, as well as activate a sudden-death phenomenon. We also discuss the effects of an environmental quantum phase transition on the features of the two-qubit entanglement dynamics.

“Authentic Reproductions”: Staging the “Wild West” in Modern Irish Drama

This article examines two metatheatrical plays written by playwrights from the north of Ireland that bookend the twentieth century. The first is Ulster Literary Theatre (ULT) playwright Gerald MacNamara’s parodic, “proto-Pirandellian”4 The Mist That Does Be on the Bog (1909), which satirizes the peasant aesthetic of the “Abbey play” of the Irish Revival.5 The second is Marie Jones’s international hit, Stones in His Pockets (1999), a “play-full,” postmodern deconstruction of the commodification of Irish culture in the era of the Celtic Tiger. Although separated by exactly ninety years, the two plays can be connected through their critiques of the cultural politics of nationalism and globalization during the periods of the Irish Revival and the Celtic Tiger, respectively. Moreover, both plays are distinguished by their dramaturgical form, as the political critique of each is corporeally embodied in metatheatrical performance.

Adapting musicology’s use of affect theories to contemporary theatre-making: directing Martin Crimp’s Attempts on Her Life

Adopting and adapting musicology’s use of affect theories, specifically Jeremy Gilbert’s idea of an ‘affective analysis’ and David Epstein’s idea of ‘shaping affect’, this article looks at Martin Crimp’s Attempts on Her Life from a practitioner’s perspective. It investigates the challenges and benefits of adopting an ‘affective approach’ to directing recent theatre texts which stress the musicality and corporeality of language along with, and at times above, their signifying roles. Rather than locating Aristotelian dramatic climaxes based on narratological or characterological progression, an affective approach seeks to identify moments of affective intensity, which produce a different sort of impact by working on a ‘body-first’ methodology rather than the directly cerebral. That this embodied impact is not ultimately meaningless is one of affect theories most vital assertions. This approach has resonance in terms of how directors, performers and critics/theorists approach work of this type.

Translating ‘gaytown’: the collision of global and local in bringing Australian queer play Bison to Belfast.

Sydney playwright Lachlan Philpott’s Bison (2000/2009) is immersed in a sweaty, summery Antipodean scene of bronzed and toned bodies. It is located in the flora and fauna of gum trees and biting ants. Yet, despite this, it could be argued that at its heart it is not a specifically Australian site, but an all-too translatable scene that seems to be played out in gay clubs, bars, chatrooms and saunas around the Western world: men repeating patterns, looking for sex or love; checking out bodies, craving perfection; avoiding, and occasionally seeking, disease. At least, that was my assumption when I decided to direct the play in Belfast, Northern Ireland, in 2009. Philpott came to Belfast to workshop the play with the actors and, as a group, we restructured the play and tried to find a way to ‘de-Australianise’ it without necessarily placing it in a new geographical place - Northern Ireland - through linguistic clues in the text. As Philpott put it: ‘Let’s not make this play about Belfast or Sydney or London or anywhere because it is not a fair reflection of these scenes. Maybe we should just identify the generic elements of this world and then make Bison a play that reflects gaytown – because the rituals are all the same in Western society’. The experience of doing the play in Belfast made clear, however, that ideas of a global gay identity/experience –though highly marketed – fail to account for the vastly different situations of embodied gay experience. And the Northern Irish gay experience, while it has imported the usual ‘generic’ tropes of gayness, sits within a specific cultural context in which the farsighted legislation on equality for gays (imposed by either London or the EU) vastly outstrips wider societal thinking. For many in Northern Ireland, erstwhile MP Iris Robinson’s comments about homosexuality being an ‘abomination’ were a reason to support her, rather than to reject her. For me, the comments were the catalyst to doing Bison in Belfast.

The Body Skinned Rethinking performative presence

In this paper I examine the transformation that the skin has undergone over the centuries. This change in conception in the skin whereby the skin is considered less a boundary space and more akin to a milieu, a meeting place for the other senses, allows me to posit the performative body as one engaged in a haptic condition, as a body in intimately lived-in spaces with tactile relations. A shift from the optical towards the haptic, in which the all- encompassing god-like view of traditional performance environments becomes replaced by a more haptic condition, as can be exemplified in performances in dispersed environments, posits the body skinned as a fragile body that wants to favour the incomplete and the fragmented. The body skinned is a body initiated by the observed and the perspectival, but it is nourished by means of the local and the embodied. It is a body that, like the skin, is more akin to a meeting place of, and for, the other senses, as well as for senses of the others. Most clearly, the body skinned brings to the fore a potential of being ‘connected a little less’. It is a body that embraces notions of the incomplete, of glances, and of fantasies, and in this light may be a body more ideally suited to environments that purposely displace performative action, such as found in network performance environments.

The Pontydian Performance:the performative layer

In this paper we reflect on the performer-instrument relationship by turning towards the thinking practices of the French philosopher Maurice Merleau-Ponty (1908-1961). Merleau-Ponty's phenomenological idea of the body as being at the centre of the world highlights an embodied position in the world and bestows significance onto the body as a whole, onto the body as a lived body. In order to better understand this two-way relationship of instrument and performer, we introduce the notion of the performative layer, which emerges through strategies for dealing with discontinuities, breakdowns and the unexpected in network performance.

Negotiation of risk in sexual relationships and reproductive decision-making amongst HIV sero-different couples

The paper focuses on the ways in which medical discourses of HIV transmission risk, personal bodily meanings and reproductive decision-making are re-negotiated within the context of sero-different relationships, in which one partner is known to be HIV-positive. Eighteen in-depth interviews were conducted with 10 individuals in Northern Ireland during 2008–2009. Drawing on an embodied sociological approach, the findings show that physical pleasure, love, commitment, a desire to conceive without medical interventions and a dislike of condoms within regular ongoing relationships, shaped individuals' sense of biological risk. In addition, the subjective logic that a partner had not previously become infected through unprotected sex prior to knowledge of HIV status and the added security of an undetectable viral load significantly impacted upon women's and, especially, men's decisions to have unprotected sex in order to conceive. The findings speak to the importance of reframing public health campaigns and clinical counselling discourses on HIV risk transmission to acknowledge how couples negotiate this risk, alongside pleasure and commitment within ongoing relationships.

Tongue-tied?: An Active Analysis of Brian Friel's Translations

This article has arisen from a research-led production of Translations by Brian Friel for Queen’s University’s Tyrone Guthrie Society in February 2010. Drawing partly on a review of the existing critical literature and also from questions left unresolved by a previous experience of directing the play, the production sought to address through ‘active analysis’ (Merlin 2001) a number of research questions relating to the embodied nature of the rehearsal process and the historicity of Friel’s play. The analysis invokes Bergson (1910), Lefebvre (1991) and Worthern (2006) in establishing a performative correlative for insightful but more literary studies by Connolly (1993), Lojek (1994) and McGrath (1989 & 1999). A detailed account of the rehearsal process helps reveal the extent to which the idea of failure of communication is embedded in the text and embodied in performance, while an experiment with the partial use of the Irish language casts further light on Friel’s extraordinary device of rendering two languages through the medium of one. The use of music to counterpoint, rather than underscore the action, together with an achronological sequence of projected historical images inspired by Andrews (1983) provided me as director a means to challenge the audience’s presuppositions about the play. The sense of palimpsest, of the layered histories, that this evoked also served to highlight Friel’s use of the wider stylistic palette of Anglo-Irish drama, revealing Translations as a forerunner for Stewart Parker’s more explicit formal experiments in Northern Star. In rehearsal and performance Friel’s place in the continuum of the Irish theatrical canon became clear, as stylistic allusions to O’Casey, Shaw, Wilde and Beckett were embodied by the actors on the rehearsal room floor.

Translating policy into practice: A case study in the secondary prevention of coronary heart disease

Background: This paper focuses on the relationships between health ‘policy’ as it is embodied in official documentation, and health ‘practice’ as reported and reflected on in the talk of policy makers, health professionals and patients. The specific context for the study involves a comparison of policies relating to the secondary prevention of coronary heart disease (CHD) in the two jurisdictions of Ireland – involving as they do a predominantly state funded (National Health Service) system in the north and a mixed healthcare economy in the south. The key question is to determine how the rhetoric of health policy as contained in policy documents connects to, and gets translated into practice and action.

Methods: The data sources for the study include relevant healthcare policy documents (N=5) and progress reports (N=6) in the two Irish jurisdictions, and semi-structured interviews with a range of policy-makers (N=28), practice nurses (14), general practitioners (12) and patients (13) to explore their awareness of the documents’ contents and how they saw the impact of ‘policy’ on primary care practice.

Results: The findings suggest that although strategic policy documents can be useful for highlighting and channelling attention to health issues that require concerted action, they have little impact on what either professionals or lay people do.

Conclusion: To influence the latter and to encourage a systematic approach to the delivery of health care it seems likely that contractual arrangements – specifying tasks to be undertaken and methods for monitoring and reporting on activity - are required.

Regulatory regime change in Turkish banks:Reactive or proactive?

This paper examines the positive contributions made toward restructuring the regulatory framework of Turkey's banking and financial sectors prior to and post the 2000–2001 financial crisis. Drawing on a framework initially developed by Onis and Senses, 2007 and Onis and Senses, 2009 and further referred to by Onis, 2009 and Onis, 2010 it argues that financial reforms undertaken by the Turkish government would not have been successful without the strong support of domestic coalitions. While the external pressures put on the Turkish government from the International Monetary Fund, The World Bank and the European Union for financial reforms were necessary to kick start the reforms as a reactive process, these pressures on their own may have served only the interests of financial business elites at the expense of the broader stakeholders. Empirical data for the study was collected from documentary analysis of key financial institutions and interviews with twenty major Turkish regulatory agents and other stakeholders. The paper then discusses how the perceptions of these stakeholders are embodied into, and have influenced, regulatory regime change in Turkey from a reactive state to a more proactive one.

Animal maiming, intimacy and the politics of shared life: the bestial and the beastly in eighteenth- and early nineteenth-century England

The everyday lives of many farm workers in eighteenth- and early nineteenth-century England were intricately and often intimately bound with the lives of animals, the ebb and flow of human life being inseparable from that of animal life. Farmyards, fields, folds as well as barns and stables were all spaces where animals transcended being the mere instruments of capital to instead being obvious co-constituents of the rhythms of existence. Living and working in such close proximity meant that the ‘species barrier’ was crossed and intimacies developed in everyday agricultural practices. Still, the relationship was based upon, if not reducible to, the workings of capital: the animal enrolled as a form of embodied capital, the labourer engaged by the farmer to act upon the animal. And in such relationships intimacies are mirrored by violences: the keeping captive, slaughter, and – occasionally – abuse. In this formative period in which the discourses and policies that continue to inform animal welfare were first formulated, the declining economic and material fortunes of farm workers when juxtaposed to farm animals’ fortune as increasingly ‘cosseted capital’ gave a particular charge to these abuses. Farm animals, and especially horses and cattle, so it is shown, were subjected to a series of violences. Many cases of animal maiming parodied tenderness in their brutality, whilst other attacks on the sexual organs of animals represented complex statements about the ways in which agrarian capitalism regulated all culture. Analysing the changing relationship between humans and animals therefore also helps us to better understand how capitalism mediates – and is mediated by – the non-human as well as the human, and how it defines cultural relations.