Exhibiting Maritime Histories: Titanic Belfast in the Post-Conflict City

The sinking of the RMS Titanic in 1912 represents one of the most infamous maritime disasters in the history of shipping. Yet despite it entering the public imagination in the decades after its sinking, until recently it has all but been erased from the collective memory of the people of Belfast, the city in which it was built. In a post-conflict context, however, Belfast has begun to re-imagine the role of the ship in the city’s history, most particularly in the re-development of the docklands area and its designation as the Titanic Quarter, and through its landmark project the Titanic Belfast museum. This paper will trace the economic, social and political context from which the Titanic was built, and the role that this played in silencing any very public commemoration of its sinking until after the signing of the Belfast Agreement. The ‘story’ told in the new museum will be analysed from this perspective and will illustrate how the wounds of the Troubles continue to inform the interpretation of the city’s divided past.

(Not) Commemorating the First World War and the Somme

In November 2013 the Attorney General of Northern Ireland, John Larkin, suggested the possibility to ending troubles-related historic prosecutions in Northern Ireland. These remarks provoked a considerable reaction, mostly hostile, and while the attorney’s rationale was based largely upon the practical difficulties associated with gathering reliable evidence and securing prosecutions after a lengthy time lag, his suggestion raises the question of whether forgetting would be preferable to remembering when it comes to our contested past. This paper intends to take a different slant on commemoration by exploring in broad terms the theme of ‘not commemorating’. In this regard it will examine the arguments in favour of remembering. Specifically in regard to the case of the memory of the First World War, it will examine the mistaken impression that the commemoration of that conflict was not widespread in independent Ireland during the inter-war years. Finally, it will suggest some of the greatest challenges facing contemporary Northern Irish society in marking the decade of centenaries.

Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?

This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.

Spacing Commemorative-related Violence in Northern Ireland: Assessing the implications for a society in transition

This paper explores the geography of commemorative-related violence in Northern Ireland and considers its ramifications for a society in transition. Using original primary research, this article contributes to discussions on violence, space and memory through a spatial analysis of new quantitative archival data and existing archival material explored through a multi-disciplinary lens. It examines the complex relationship between the practices and processes of commemoration, the violence that it sometimes occasions and the places in which such violence exists. In unpacking this specific form of violence we consider the continued importance of both place and past in a post-conflict society. This includes a concern for the changing structures and forms of governance that influence how the past is negotiated as Northern Ireland marks a decade of commemorations leading up to the centenary of its contested creation.

Commemorating Shakespeare in Performance: Betterton and Irving

An essay on a central question in performance historiography: whether excellence in acting is defined as imitation of great predecessor or a departure from the work of predecessors.

Remembering 1916: The Easter Rising, the Somme and the Politics of Memory in Ireland

The year 1916 witnessed two events that would profoundly shape both
politics and commemoration in Ireland over the course of the following
century. Although the Easter Rising and the Battle of the Somme were
important historical events in their own right, their significance also lay
in how they came to be understood as iconic moments in the emergence
of Northern Ireland and the Irish Republic. Adopting an interdisciplinary
approach drawing on history, politics, anthropology and cultural
studies, this volume explores how the memory of these two foundational
events has been constructed, mythologised and revised over the course
of the past century. The aim is not merely to understand how the Rising
and Somme came to exert a central place in how the past is viewed in
Ireland, but to explore wider questions about the relationship between
history, commemoration and memory.

1916-2016. The 1916 Easter Rising

Commissioned by An Post to commemorate the centenary of the Easter Rising, this illustrated book draws on eye-witness accounts to assess this key turning-point in modern Irish history. Leading historian Fearghal McGarry explores the impact of events at the General Post Office, as well as setting the rebellion in its wider historical context. His account concludes with an assessment of the Rising's commemoration since 1916 and a commentary on the definitive stamps issued by An Post to mark the formative event in the emergence of an independent Irish nation.

The Promise of Peace:Revisiting the Northern Irish Model

The Northern Ireland peace process is often eulogized as a successful model of conflict transformation. Although the process exhibited many of the problems that beset other societies seeking to move from conflict to a negotiated peace (including disagreements over the functioning of institutions and the meanings of cultural symbols, unresolved issues relating to the effects of political violence on victims and survivors and society at large; and the residual presence of violent and political ‘spoiler’ groups), the resilience of political dialogue has proven remarkable.
This collection revisits the promise of ‘a truly historic opportunity for a new beginning’ a decade and a half on from the signing of the Belfast/Good Friday Agreement in 1998. The book will bring together academics from across a number of disciplines, including management and organizational behaviour, law, politics, sociology, archaeology and literature.

The different contributions aim to assess what impact it has made in the legal, policy, and institutional areas it specifically targeted: political reform, human rights and equality provision, working through legacies of the past (including police reform, prisoner release and victims' rights) and the building of new relationships within the island of Ireland and between Ireland and Britain. With the emergence of first-time voters who had no direct experience of the violence the book explores what the Agreement offers for future generations.

The book is the culmination of a 12-month research project sponsored by the British Academy and Leverhulme that addressed the following aspects of the peace process:
Peace walls: The euphemistically named peace walls remain one of the most visible reminders of Northern Ireland’s divisions and they are famously the only material manifestations of the conflict that have grown in number and extent since the 1998 Agreement. They were originally placed between antagonistic neighbouring communities – often at their request – at times of heightened tensions. Research under this theme explored the lack of ongoing engagement with their continuing presences, evolving meanings and impact on the communities that reside beside them needs to be overtly addressed.
Cultural division: Cultural differences have often been seen as lying at the heart of the ‘Irish problem’. Despite this, art and artists have increasingly been seen as having the potential to develop new discourses. Research explored the following questions: What role can the arts play in re-imagining the spaces opened up by the promises of the 1998 Agreement? What implication does the confrontation with the legacies of conflict have for artistic practices? What impact do the arts have on constructions of identity, on narratives of history, and on electoral politics?
Institutional transformation: This strand of research explored the significance of the process of organizational change which followed the establishment of the 1998 on political and other public policy institutions such as the police and prison services. It suggested that the experience and lessons learned from such periods of transition have much to contribute to how Northern Ireland begins to address political polarization in other areas of public service infrastructure, chiefly around the sectarian monoliths of education and housing.
Working through the past: ‘Legacy’ issues have gained increasing prominence since 1998: issues to do with public symbolism (particularly relating to the flying of flags and parading), defining victimhood, securing victims’ rights, recovery of the ‘disappeared’, reintegrating ex- prisoners back into society, and the possibilities for truth recovery and reconciliation have all acquired salient and emotive force. Although the 1998 Agreement promised to ‘honour the dead’ through a ‘new beginning’, it is increasingly unclear as to whether an agreed narrative about the past is possible – or even worthwhile pursuing. Research under this theme looked at the complex relationship between memory, commemoration and violence; how commemorative events are performed, organized, policed and represented. It also addressed the fraught issue of how to come to terms with Northern Ireland’s divided and bloodied past.

The editors are in the process of guiding contributors to adapt their papers, which were presented to a series of workshops on the above themes, to the purposes of the book. In particular, the contributors will be guided to focus on the related aims of assessing the extent of change that has occurred and providing an assessment of what remains to be done. To that end, contributors are asked to engage directly with the questions that close the ‘Introduction’, namely: To what extent has the ‘promise’ of the 1998 Agreement been fulfilled? To what extent has the 1998 Agreement given rise to forms of exclusion? To what extent has the 1998 Agreement shaped new forms of debate, dispute and engagement? In the absence of that guidance having been sent out yet, the outlines below are, for the time being, the abstracts of their original papers.

Brock University Coat of Arms

The armorial bearings for Brock University, or more simply the University Coat of Arms, or crest, was designed in a large part by Presdent Gibson, assisted by other members of the Board of Governors (A preliminary design can be seen here). The Coat of Arms was granted to Brock University on March 17th, 1965. The Coat of Arms consist of an eagle, taken from General Brock’s own arms, displayed against a scarlet background - one of the official colours of Brock University. Immediately above it on a chief argent is displayed a maple-leaf (for Canada), a scallop shell (from the Lincoln and Welland regiment), and a trillium (for the province of Ontario). An open book fronts the eagle representing learning and knowledge. The crest itself is made up of a torch symbolizing learning, surrounded by a serpent for wisdom, with two calumet or North American pipes of peace, to symbolize Canada, friendship and agreement. The supporters consist of a beaver on the dexter side, emblematic of Canada and representing work and industry in learning. On the sinister side, a brock or badger (also in commemoration of General Brock) represents tenacity of purpose. The motto 'Surgite' is visible just below the arms.

Les recueils de correspondances des poilus, vers une mémoire collective française de la Grande Guerre

Ma recherche vise, d’une part, à appréhender le phénomène de la publication des correspondances des « poilus » (les soldats français de la Première Guerre mondiale) et d’autre part, à déterminer leur rôle dans la mémoire collective de la Grande Guerre. Précédé d’un bilan historiographique, mon travail se divise en trois chapitres autour de trois thèmes principaux, la correspondance, l’édition et la mémoire. Le premier chapitre met en contexte la production des lettres et identifie les facteurs l’influençant. Le deuxième chapitre se penche sur les buts éditoriaux des publications de correspondances et sur leur transformation au fil des époques. Finalement, le dernier chapitre analyse la place de ces publications dans le cadre de la commémoration de la Grande Guerre. La recherche va au-delà de l’analyse des lettres et s’intéresse davantage aux desseins éditoriaux des recueils. Les sources utilisées sont des ouvrages collectifs publiant des lettres de poilus, édités entre 1922 (La dernière lettre) et 2006 (Paroles de Verdun).

Le patrimoine numérique, le Web et la mort

Travail personnel dans le cadre de SCI6850, recherche individuelle, en vue d'obtenir trois crédits. Présenté à l'École de bibliothéconomie et des sciences de l'information.

Conserver ou restaurer? La dialectique de l’œuvre architecturale : histoire d'un débat qui a contribué à la formation de la culture de la conservation du patrimoine bâti

La question de recherche « Conserver ou restaurer ? » est le point de départ d’une aventure invitant le lecteur à répondre à qu’est-ce qui oriente nos interventions en matière de conservation du patrimoine bâti. Sachant que ces positions rivales ont toutes une prétention à la vérité, cette thèse fait l’hypothèse d’une médiation entre les deux approches en clarifiant ses différentes interprétations. À partir d'un regard critique de la théorie de Cesare Brandi fondée sur la dialectique historique-artistique de l’œuvre d’art ainsi que d'une réflexion sur la nature fonctionnelle de l’œuvre architecturale, cette thèse démontre qu’il n’y a pas lieu a priori de donner une prédominance à l’une des deux options, ni à établir une échelle de valeurs prédéterminées, mais dévoile un dénominateur commun qui est le temps. Ce dernier ne se restreint pas au passé et au présent, mais implique la puissance destructrice du temps de la nature et le temps historique fondé sur un présent durable riche du passé et ouvert sur l'avenir. Les résultats de la recherche révèlent enfin un dialogue possible entre nos deux alternatives, en proposant une éthique disciplinaire axée sur la dialectique du temps. Savoir « quand conserver ou quand restaurer » demande la reconnaissance de ce que l’on retient de plus significatif à travers l’existence de l’œuvre. Situer cette signification dans un passé révolu désigne l’œuvre comme témoignage d’un temps passé, en lui reconnaissant sa fonction mémorielle ou remémorative ; d’où l’approche à prédominance conservative visant à faire reculer la puissance destructrice du temps de la nature et à préserver le témoignage matériel de la dégradation. Au contraire, situer cette signification dans un présent vivant, c’est reconnaître sa vocation identitaire destinée à la représentation d’une culture ; d’où l’approche à prédominance restaurative (ré-intégrative) fondée sur le temps historique, d’un présent durable riche du passé et ouvert sur l'avenir visant à en révéler le sens. En bref, en ce qui concerne tout le patrimoine bâti, on ne peut parler que d’une dialectique fondamentale issue de la nature même de ces œuvres, à interpréter sous leur fonction mémorielle et leur vocation identitaire. Par conséquent, conserver ou restaurer devraient être réinterprétés par préserver la mémoire ou révéler l’identité. Ainsi, la conservation et la restauration ne doivent plus être entendues comme deux options antagonistes, mais comme deux modalités d’interprétation au service de la médiation de l’œuvre architecturale à travers le temps.

Mémoire et performance : analyse de la commémoration de la Révolution kuna à Uggubseni, Panama

En 1925, les Kunas (Gunas), autochtones du nord-est du Panama, se soulevèrent en armes afin de contrer les politiques assimilationnistes du gouvernement national. Première étape dans un long processus d’affirmation identitaire et de revendications territoriales, ce soulèvement est aujourd’hui connu sous le nom de Révolution kuna (Revolución Dule). Considéré de nos jours comme un symbole des luttes autochtones pour l’autodétermination et l’autonomie politique, cet épisode historique est grandement célébré dans le territoire de Kuna Yala (Gunayala). À Uggubseni, scène principale du soulèvement de 1925, la commémoration prend la forme d’une reconstitution historique où, pendant plus d’une semaine, les villageois reconstruisent le scénario révolutionnaire. Cette commémoration particulière est l’objet du présent travail de recherche, par lequel nous tentons d’analyser comment est remémorée et interprétée aujourd’hui la Révolution kuna. Pour ce faire, nous nous sommes d'abord penchés sur l’événement même de la commémoration. Une analyse de sa forme nous amena à considérer l’ensemble commémoratif comme un nouveau rite au sein de la ritualité kuna. Nous argumentons que par sa forme carnavalesque, la commémoration permet aux villageois de repenser la relation dialectique entre l’État panaméen et l’autonomie kuna, de même qu’elle sert d’exutoire aux tensions internes. Ensuite, nous nous sommes intéressés aux diverses interprétations de cette étape de l’histoire kuna et panaméenne afin de cerner les différents intérêts impliqués dans la commémoration du soulèvement kuna. Enfin, le cœur de ce travail porte sur le rôle de la mémoire collective dans la construction et la réitération d'un discours identitaire, et ce, en analysant comment la mémoire de la révolution est transmise, reçue, interprétée et utilisée aujourd'hui.