'Whatever You Say, Say Nothing' : Researching Memory & Identity in Mid-Ulster, 1945-1969

The influence of collective memory on political identity in Ireland has been well documented. It has particular force in Northern Ireland where there is fundamental disagreement about how and why the conflict erupted and how it should be resolved. This article outlines some of the issues encountered by an ‘insider’ when attempting to record and analyse the conflicting memories of a range of Protestants and Catholics who grew up in Mid-Ulster in the decades preceding the Troubles. In particular, it considers the challenges and opportunities presented by a two-pronged approach to oral history: using testimony as evidence about historical experience in the past and as evidence about historical memory – both collective and individual – in the present.

Almost nothing, almost anywhere: the metal shed in 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.

"'Nothing but a printer's devil ever drives me into finishing': the Genesis of Thomas Moore's Irish Melodies'

This chapter outlines the working methods of the prolific writer and lyricist Thomas Moore—which were characterized by the unfortunate combination of a perfectionist streak, a tendency to release material to the publishers while still in the creative mode, and a tendency to re-visit previously-published material. The Gibson-Massie Moore collection at Queen's University Belfast teaches us a great deal about Moore’s creative processes, and also records the nineteenth-century publishing industry’s response to one of its most prolific and popular creative artists. This chapter is illustrated by an online Exhibition, the 'Thomas Moore Project', Digital Collections, Special Collections, McClay library (see URL below).

Money for nothing?: The net costs of medical training

A Masters Thesis, presented as part of the requirements for the award of a Research Masters Degree in Economics from NOVA – School of Business and Economics

"The nothing that is" : An Ethics of Absence Within the Poetry of Wallace Stevens

Cette thèse se concentre sur ce que j'appelle «l’espace négatif» de la représentation dans la poésie de Stevens comme étant un véritable espace d'engagement politique, une interprétation qui se distingue de la plus grande partie de la critique sur Stevens. En suivant les écrits philosophiques d'Emmanuel Levinas, j'affirme que l'emphase que Stevens place sur la représentation de la représentation elle-même ouvre un espace au-delà des limites rigides de l'identité-ce que Levinas appelle « le je [sujet] semblable », permettant un contact authentique avec « l'Autre» ainsi qu’avec le concept de « l'infini ». Bien que Stevens s’est farouchement opposé à la notion Romantique de la sublime transcendance, c’est-à-dire d'un espace censé exister en dehors des limites de l'imagination humaine, il se concerne néanmoins avec l'exploration d'un espace au-delà de l'identité individuelle. Pour Stevens, cependant, « la transcendance» est toujours, nécessairement, liée par les restrictions reconnues du langage humain et de l'imagination, et donc par la réalité du monde perceptible. Toute « transcendance» qui est recherchée ou atteinte, dans la poésie de Stevens ne devrait donc pas - ma thèse affirme - être entendu dans le sens sublime déterminé auparavant par les Romantiques. Une connexion plus appropriée peut plutôt être faite avec la transcendance concrète et immédiate décrit par Lévinas comme le «face à face ». L’attention que Stevens accordent aux notions concrètes et immédiates est souvent exprimé à travers son attention sur les qualités esthétiques de la langue. Sa poésie a en effet la poésie pour sujet, mais pas dans le sens solipsiste qui lui est souvent attribué. En se concentrant sur le processus actif et créateur inhérent à l'écriture et à la lecture de la poésie, Stevens explore la nature de l'Etre lui-même. Je compare cette exploration dans le travail de Stevens à celle du dessinateur, ou de l'artiste, et dans ma conclusion, je suggère les liens entre l'approche d'enquête de Stevens et celle d’artistes visuels contemporains qui se sont également engagés à la figuration du processus créatif. L’ artiste sud-africain William Kentridge est mon exemple principal , en raison de sa conviction que la méthode est intrinsèquement liée à l'engagement politique et social.

Nothing New (Ethically) Under the Sun: Policy & Clinical Implications of Nanomedicine

Article

The Individual is Nothing, the Class Everything: Psychophysics and Modeling of Recognition in Obect Classes

Most psychophysical studies of object recognition have focussed on the recognition and representation of individual objects subjects had previously explicitely been trained on. Correspondingly, modeling studies have often employed a 'grandmother'-type representation where the objects to be recognized were represented by individual units. However, objects in the natural world are commonly members of a class containing a number of visually similar objects, such as faces, for which physiology studies have provided support for a representation based on a sparse population code, which permits generalization from the learned exemplars to novel objects of that class. In this paper, we present results from psychophysical and modeling studies intended to investigate object recognition in natural ('continuous') object classes. In two experiments, subjects were trained to perform subordinate level discrimination in a continuous object class - images of computer-rendered cars - created using a 3D morphing system. By comparing the recognition performance of trained and untrained subjects we could estimate the effects of viewpoint-specific training and infer properties of the object class-specific representation learned as a result of training. We then compared the experimental findings to simulations, building on our recently presented HMAX model of object recognition in cortex, to investigate the computational properties of a population-based object class representation as outlined above. We find experimental evidence, supported by modeling results, that training builds a viewpoint- and class-specific representation that supplements a pre-existing repre-sentation with lower shape discriminability but possibly greater viewpoint invariance.

Nothing but trouble.

Para Maisie empieza el día con su hermano bebé despertándola bruscamente, luego su madre, distraída. derrama los cereales del desayuno en su cabeza y desde entonces las cosas van de mal en peor para ella, tanto en casa como en la escuela.

Nothing scares us.

Trata el tema de los miedos con humor y de manera tranquilizadora. La historia demuestra con éxito que es normal tener algunos miedos, y que está bien compartirlos con los amigos. Lucy y Lenny son inseparables en sus aventuras. Todo va bien hasta el día Lucy descubre que tiene miedo de una criatura de un programa de televisión. Tiene una viscosa boca verde y chupa hasta los trenes. Ella no quiere descubrir su secreto a Lenny , pero luego descubre que Lenny tiene una debilidad:también él tiene miedo de las arañas.

Much ado about nothing. The complete play together with handy hints and notes.

Es un texto anotado para el estudio de la obra de William Shakespeare. Explica los principales temas, ideas, personajes y el contexto en los que se desarrolla la pieza de teatro; también proporciona consejos útiles para ayudar a leer y entender su lenguaje. Es un recurso para los estudiantes de catorce a dieciséis años que preparan el General Certificate Secondary Education (GCSE) del curriculo nacional inglés.

Key Stage Three Shakespeare : Much ado about nothing. 'Etapa Clave Tres Shakespeare : Mucho ruido y pocas nueces'.

Este texto guiado ayuda a los alumnos de once a catorce años de la etapa 3 de secundaria (Key Stage 3) del curriculo nacional inglés en la comprensión del contexto histórico, de los temas tratados y de los personajes que aparecen en el texto. Esta dividida en secciones y al final de cada una de ellas hay un repaso resumido y preguntas para asentar los conocimientos.

Lessons from nothing : activities for language teaching with limited and resources.

Recurso con alrededor de setenta actividades de enseñanza de idiomas para profesores que buscan actividades fáciles de utilizar, que fomenten la interacción y la cooperación en el aula y que no requieran gran cantidad de recursos, instalaciones o preparación.

Much ado about nothing.

Incluye el texto completo de la obra de teatro y se acompaña de una explicación detallada de palabras, frases y pasajes difíciles de entender, resúmenes al comienzo de las escenas individuales y notas sobre los personajes principales. Todo ello para ayudar a los estudiantes a una mejor comprensión del texto. Además, contiene actividades para el aula, prácticas de examen e información sobre la Inglaterra isabelina como apoyo adicional.