Cork as canvas : exploring intersections of citizenship and collective memory in the Shandon Big Wash Up murals

Urban space has the potential to shape people's experience and understanding of the city and of the culture of a place. In some respects, murals and allied forms of wall art occupy the intersection of street art and public art; engaging, and sometimes, transforming the urban space in which they exist and those who use it. While murals are often conceived as a more ‘permanent’ form of painted art there has been a trend in recent years towards more deliberately transient forms of wall art such as washed-wall murals and reverse graffiti. These varying forms of public wall art are embedded within the fabric of the urban space and history. This paper will explore the intersection of public space, public art and public memory in a mural project in the Irish city of Cork. Focussing on the washed-wall murals of Cork's historic Shandon district, we explore the sympathetic and synergetic relationship of this wall art with the heritage architecture of the built environment and of the murals as an expression of and for the local community, past and present. Through the Shandon Big Wash Up murals we reflect on the function of participatory public art as an explicit act of urban citizenship which works to support community-led re-enchantment in the city through a reconnection with its past.

Using hybrid knowledge engineering and image processing in color virtual restoration of ancient murals

IEEE Transactions on Knowledge and Data Engineering, vol. 15, no. 5, pp. 1338-1343, 2003.

Modulating mythology in a post-traumatic era: Murals and re-imaging in Northern Ireland.

Arguably the most ancient of the social media, wall paintings have been a persistent vehicle of cultural meaning management. The dynamics of myth markets are reflected in the sectarian murals of Northern Ireland. In this paper, we draw from consumer research literature on mythology and street art to explore the continuous revision of these wallscapes that seeks to address the enduring contradictions of civic ideology in contested political space. In particular, we focus on the use of classical, historical and pop-cultural mythologies to transform private space into public place. We examine the decommissioning of murals occurring in the wake of the Peace Accords, and speculate on the implications of the creation of a shared mythology for the future of mural painting and the state.

Els mapamundis murals.'Los mapamundis murales'.

Se analiza la problemática en los institutos de enseñanza secundaria acerca de la dotación de material didáctico. Se lleva a cabo una caracterización de dos tipologías de mapas, la llamada Mercator y la Peters. El autor concluye aportando una breve exposición de su tarea docente como profesor de geografía.

Talking through walls: a history of the murals in Northern Ireland

This dissertation examines how some fundamental events of the history of Ireland emerge through the art of the mural. It is divided into three chapters. The first chapter opens with a brief presentation of the mural as a form of art with a semiotic and sociological function, with a particular focus on the socio-political importance it has had and still has today in Ireland, where murals are a significant means of expressing ideals, protest and commemoration. A part of this chapter also provides data about the number of murals and their location, with a particular focus on the two cities of Belfast and Derry. This first chapter ends with the presentation of an initiative put forth by the Arts Council of Northern Ireland, called "Building Peace through the Arts: Re-Imaging Communities", and questions its implementation on the Irish soil. The second chapter provides a history of the murals in Northern Ireland, from the Unionist's early depictions of King Billy in occasion of the 12 July annual celebrations to the Republican response. This will be supported by an explanation of the two events that triggered the start of the mural painting for both factions: the Battle of the Boyne for the Loyalists and the 1981 hunger strike for the Republicans. In the third and last chapter of this dissertation, a key of the main themes, symbols, acronyms and dominant colours which can be found in Loyalist and Republican murals is provided. Furthermore, one mural for each faction is looked at more closely, with an analysis of the symbols which are present in it.

"Fit Cradle of the Reviving Art": An inquiry into the the Evolving Material Reality of the Murals in the Camposanto of Pisa from the Perspective of their British Reception from the 17th to the 19th century

The Camposanto of Pisa is an extraordinarily complex and evocative monument, which has captured the imagination of pilgrims, both religious and secular, for centuries. The late Medieval and early Renaissance wall paintings that line the perimeter of the portico surrounding a vast inner courtyard, are unparalleled in early Italian art, not only for their striking variety of composition and narrative complexity, but also for the sheer grandeur of their proportion. However, the passage of time has scarred the structure of the Camposanto and inflicted terrible damage on its wall paintings. This thesis explores the material reality of the Camposanto as experienced over three centuries through the eyes of British travelers. In order to situate the Camposanto mural cycle within an historical and cultural context, the first chapter provides an overview of the construction and decoration of the monument. Notably, Giorgio Vasari (1511-1574), the Italian Humanist often recognized as the father of art history, included numerous descriptions of the Camposanto murals in his highly influential text Vite de' più eccellenti pittori, scultori, ed architettori. Accordingly, the second chapter provides an analysis of Vasari’s descriptions and reflects upon the influence that the Renaissance author may have had upon the subsequent British reception of the Camposanto murals. The third chapter utilizes three centuries of travel writing in order to investigate the aesthetic impact of the Camposanto mural cycle upon British tourists from the seventeenth through to the nineteenth century.

Community arts in early childhood

Community arts can take many forms, including murals, installations, festivals and performances. The work can be produced by artists solely, by artists working with community groups, or by community groups. Community arts can be on a grand-scale covering whole streets, parks or even towns, or small- scale, such as a mosaic in the corner of a play area. It can be extremely impacting and a permanent fixture, or fragile and small and designed to blow away in the wind. But, common to all these different forms of community arts are the criteria that community arts are made in, for and/or by, the local community.

Striving for a better world: Lessons from Freire in Grenada, Jamaica and Australia

The author of this paper considers the influence of Paulo Freire’s pedagogical philosophy on educational practice in three different geographical/political settings. She begins with reflections on her experience as a facilitator at Freire’s seminar, held in Grenada in 1980 for teachers and community educators, on the integration of work and study. This case demonstrates how Freire’s method of dialogic education achieved outcomes for the group of thoughtful collaboration leading to conscientisation in terms of deep reflection on their lives as teachers in Grenada and strategies for decolonising education and society. The second case under consideration is the arts-based pedagogy shaping the work of the Area Youth Foundation (AYF) in Kingston, Jamaica. Young participants, many of them from tough socio-economic backgrounds, are empowered by learning how to articulate their own experiences and relate these to social change. They express this conscientisation by creating stage performances, murals, photo-novella booklets and other artistic products. The third case study describes and evaluates the Honey Ant Reader project in Alice Springs, Australia. Aboriginal children, as well as the adults in their community, learn to read in their local language as well as Australian Standard English, using booklets created from indigenous stories told by community Elders, featuring local customs and traditions. The author analyses how the “Freirean” pedagogy in all three cases exemplifies the process of encouraging the creation of knowledge for progressive social change, rather than teaching preconceived knowledge. This supports her discussion of the extent to which this is authentic to the spirit of the scholar/teacher Paulo Freire, who maintained that in our search for a better society, the world has to be made and remade. Her second, related aim is to raise questions about how education aligned with Freirean pedagogy can contribute to moving social change from the culture circle to the public sphere.

Chapingo: Capela

Essa dissertação é uma proposta de releitura do conjunto de murais no interior da Capela de Chapingo, México. Tal releitura de crítica artística relaciona-se à apropriação de uma metodologia derivada da própria noção de capela, metodologia essa que compactua com o ambiente artístico em questão e com a fenomenologia do contemplador desse conjunto. O objetivo dessa proposta é apresentar as nuances envolvidas no conceito-chave, por parte da historiografia artístico-religiosa, de suporte-capela, isto é, a capela não apenas como ambiente religioso, mas como ocasião artística

Religião, ensino religioso e cotidianos da escola: discutindo a laicidade na rede pública estadual do Rio de Janeiro

As diferentes religiões circulam no espaço escolar como mais um elemento das diferenças que caracterizam e desafiam a escola. Por esse motivo, devem ser respeitadas. Entretanto, nem sempre a escola se mantém laica e, muitas vezes, as religiões aparecem de forma desigual e segregadora. Enquanto algumas, em especial, as cristãs, são exaltadas, outras são reprimidas ou invisibilizadas, o que demonstra um desrespeito às diferenças religiosas e à laicidade da escola. Nesse sentido, faz-se necessário abordar a questão complexa e conflituosa das diferenças culturais e religiosas no espaço escolar e as suas consequências no processo de ensino-aprendizagem e sensação de pertencimento dos estudantes, em especial dos adeptos das minorias religiosas. Para a investigação e análise da presença da religião no espaço escolar e os impactos causados por ela, a cultura material escolar tem grande relevância. Através dos objetos encontrados na escola, ou até mesmo, através da ausência deles, podemos aferir como a escola trata a diferença e como ela pode se tornar um agente fomentador de intolerância religiosa. Livros didáticos, murais, avaliações, entre outros materiais, são fontes importantes. Além disso, a forma como os educadores tratam a questão também é uma importante fonte para a análise da presença das religiões e seus embates no cotidiano escolar. Dentro dessa discussão, entra a religião legitimada, dentro da escola, através da disciplina de Ensino Religioso, sua contextualização histórica, interesses políticos e religiosos e suas consequências.

The Cult of 'Maria Regina' in Early Medieval Rome

This paper examines the importance of the cult of Mary to religious practice in early medieval Rome, with a particular focus on the manifestations of devotion to Mary in the decoration of churches such as S. Maria Antiqua and San Clemente.

“That’s not Ironic, that’s just Stupid!": Towards an Eclectic Account of the Discourse of Irony

This article draws on a range of models from language studies, particularly from linguistic pragmatics, in order to elucidate patterns in the production and reception of irony in its social and cultural context. An expanded view of the concept of irony, it is suggested, allows for better modelling of the creative mechanisms which underpin it, and in doing so can open the way for a fuller understanding of humour production and reception. A consequence of this broader (five-fold) typology of irony is that it can help shed light on the cultural dynamic of irony. The article uses a range of examples from different media and the lay definitions and interpretations that ordinary (non-academic) users of the language use in the comprehension of irony. Insofar as it seeks to develop an overarching model of irony, this paper draws on a variety of textual examples from a variety of sources, ranging from corpus evidence, through a stand-up comedy routine, to political wall murals and their discursive re-conformation as humour in present-day Northern Ireland. Although the central discussion is supported by insights from other linguistic, cognitive and socio-cultural approaches, the theoretical framework which emerges, with its focus on language and communication in context, is situated squarely within contemporary linguistic pragmatics.