'Ascendency's ... last big jamboree':Big house society in Northern Ireland 1921-69

Thie examines the continuing role that the landed class enjoyed in Northern Ireland in contrast to the experience of their fellow landlords in the rest of Ireland following Partition. It argues that the senses of tradition and continuity which the unionist population in particular attributed to the old landed elite gave them an important role in bolstering the newly created state of Northern Ireland. In turn this allowed them to continue acting as a social elite long after the economic and political foundations of their ascendancy had been removed.

Poor relief in the north of Ireland 1850-1921

This examines the way in which poor relief, and in particular the Poor Law, operated in the north of Ireland from the end of the Great Famine through to Partition. Drawing on a range of primary sources it develops a picture of relief patterns, exploring the ways in which the poor law was administered and the ways in which the poor utilised the limited relief options available to them. The chapter provides an analysis of how releif patterns in the north reacted to broader social and political change, developed over time and compared to other regions within Ireland.

Belfast, the emerging city:1850-1914

This explores the rich social, cultural and economic life of Belfast at the point when it was emerging as Ireland's largest city and a key player in the British industrial and commercial landscape. Drawing on the research of established and emerging scholars this provides a series of snapshots of many aspects of the city's devlopment and its people at this pivotal time in its history

Zeros and Os:Silence, Absence and Erasure in an Intercultural O-thello

The performative function of sound and music has received little attention in performance theory and criticism and certainly much less so in studies of intercultural theatre. Such an absence is noteworthy particularly since interculturalism is an appropriative Western theatrical form that absorbs Eastern sources to re-create the targeted Western mise en scene. Consequently, a careful consideration of the employment of sound and music are imperative for sound and music form the vertebrae of Asian traditional performance practices. In acoustemological and ethnomusicological studies, sound and music demarcate cultural boundaries and locate cultures by an auditory (dis)recognition. In the light of this need for a more considered understanding of the performative function of sound and music in intercultural performance, this paper seeks to examine the soundscapes of an intercultural production of Shakespeare’s Othello – Desdemona. Directed by Singaporean Ong Keng Sen, Desdemona was a re-scripting of Shakespeare’s text and a self-conscious performance an identity politics. Staged with a multi-ethnic, multi-national cast, Desdemona employed various Asian performance traditions such as Sanskrit Kutiyattam, Myanmarese puppetry, and Korean p’ansori to create the intercultural spectacle. The spectacle was not only a visual aesthetic but an aural one as well. By examining the soundscapes of fractured silences and eruptive cultural sounds the paper hopes to establish the ways in which Desdemona performs absences and erasures of ‘Asia’ in a simultaneous act of performing an Asian Shakespeare.

A Document in Madness:Ophelia's Music of Insanity

This paper considers the musicological aspects of the songs performed by Ophelia in Shakespeare's Hamlet. It proposes a reconsideration of the concept of madness and insanity by an attentive, attuned and learned listening to the songs sung by Ophelia and the ways in which they are performed and received.