Ulster Since 1600 surveys the history of the province from plantation to partition, and onwards from the formation of the Northern Ireland state to the 'Troubles' of recent decades. It synthesises existing historical knowledge and also brings new insights to bear on the political, social, and economic evolution of the province and its peoples. The word 'Ulster' conjures up images of communal conflict, sectarianism, and peace processes of indefinite duration but, as this volume shows, there is much more to the history of Ulster and its peoples. From the Plantation of Ulster in the early seventeenth century, the province has been home to three major ethnic and religious groups. It was this radically reconstituted society that produced a precociously early emigration to North America, that celebrated the outbreak of the French Revolution, and that in the Victorian era hosted Ireland's first industrial city. Its rural poor suffered destruction and death during the Great Famine of the 1840s, along with their counterparts in the south of Ireland. Its urban working classes had much in common with the industrial classes of England and Scotland, in terms of religiosity, popular entertainment, labour movements, gender, and family relationships. This multi-authored volume is a major contribution to the history of Ireland and to Ireland's contested place in the British and the wider world.

Ulster Since 1600: Politics, Economy, and Society

History

Kennedy, Liam

Ollerenshaw, Philip

Europe

Oxford University Press

In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic—comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image’s ability to bear witness and stimulate action.

Afterimages: Photography and U.S. Foreign Policy

Arts & Photography

Photography & Video

University of Chicago Press

Who Was Responsible for the Troubles?: The Northern Ireland Conflict

<div>The Troubles claimed the lives of almost four thousand people in Northern Ireland, most of them civilians; forty-five thousand were injured in bombings and shootings. Relative to population size this was the most intense conflict experienced in Western Europe since the end of the Second World War. The central question posed in this book is fundamental, yet it is one that has rarely been asked: Who was primarily responsible for the prosecution of the Troubles and their attendant toll of the dead, the injured, and the emotionally traumatized? Liam Kennedy, who lived in Belfast throughout most of the conflict, was long afraid to raise the question and its implications. After years of reflection and research on the matter he has brought together elements of history, politics, sociology, and social psychology to identify the collective actors who drove the conflict onwards for more than three decades, from the days of the civil rights movement in the late 1960s to the signing of the Good Friday Agreement in 1998. The Troubles in Northern Ireland are a world-class problem in miniature. The combustible mix of national, ethnic, and sectarian passions that went into the making of the conflict has its parallels today in other parts of the world. Who Was Responsible for the Troubles? is an original and controversial work that captures the terror and the pain but also the hope of life and the pursuit of happiness in a deeply divided society.</div>

McGill-Queen's University Press

The Troubles claimed the lives of almost four thousand people in Northern Ireland, most of them civilians; forty-five thousand were injured in bombings and shootings. Relative to population size this was the most intense conflict experienced in Western Europe since the end of the Second World War. The central question posed in this book is fundamental, yet it is one that has rarely been asked: Who was primarily responsible for the prosecution of the Troubles and their attendant toll of the dead, the injured, and the emotionally traumatized? Liam Kennedy, who lived in Belfast throughout most of the conflict, was long afraid to raise the question and its implications. After years of reflection and research on the matter he has brought together elements of history, politics, sociology, and social psychology to identify the collective actors who drove the conflict onwards for more than three decades, from the days of the civil rights movement in the late 1960s to the signing of the Good Friday Agreement in 1998. The Troubles in Northern Ireland are a world-class problem in miniature. The combustible mix of national, ethnic, and sectarian passions that went into the making of the conflict has its parallels today in other parts of the world. Who Was Responsible for the Troubles? is an original and controversial work that captures the terror and the pain but also the hope of life and the pursuit of happiness in a deeply divided society.

The Economic History of Ulster, 1820-1939

Business & Money

Economics

Manchester Univ Pr

Susan Sontag: Mind As Passion

Susan Sontag has been a major figure in American intellectual life for over thirty years. She has consistently broken fresh ground in cultural analysis and provocatively engaged a wide range of socio-political issues. This study provides a critical introduction to her essays and fiction, illustrating how her aesthetic and political concerns are shaped by her role as a public intellectual within the New York tradition. Liam Kennedy presents Sontag as a modernist "writer-intellectual" who has produced a distinctive critical perspective on such diverse subjects as camp, pornographic literature, fascist aesthetics, photography, AIDS and revolution. The book provides a detailed critical analysis of the poetics and politics of Sontag's intellectual generalism. She is presented as a singular interpreter and exponent of high modernist aesthetics who has built a major body of textual work around her strong "sense of an ending", a perspective on late modernist culture which unites her diverse interests and spans her essays and fiction.

Literature & Fiction

History & Criticism

PALGRAVE~MACMILLAN

Urban Space And Representation

Theories of urban space have become the focus of a great deal of work by scholars in cultural geography, urban studies and critical theory. This volume contributes to that debate by analysing the relationship between theories of urban space and literary and visual representations of the city – an emergent area of confluence in literary, film and cultural studies. The contributors address themes such as visual culture and spectacle; class and capital; community and public space; and nation, diaspora and belonging. Cities covered include New York, Chicago, Jerusalem, Paris, London, Birmingham and Freetown, Sierra Leone. Artists and writers discussed include Piet Mondrian, Nella Larsen, Rudolph Fisher, Amos Oz, David Grossman, Sarah Schulman, Jonathan Larsen, Charles Dickens, Wilkie Collins, Paul Auster and Wayne Wang.

Politics & Social Sciences

Balshaw, Maria

Social Sciences

Pluto Press

This innovative book looks at representations of ethnic and racial identities in relation to the development of urban culture in postindustrialised American cities. The concept of "urban space" organizes a series of themes that structure chapters on white paranoia and urban decline; memories of urban passage; the racialized underclass; urban crime and justice; and globalisation and citizenship.The book focuses on a range of literary and visual forms including novels, journalism, films (narrative and documentary), and photography to examine the relationship between race and representation in the production of urban space. Texts analyzed include writings by Tom Wolfe ( The Bonfire of the Vanities), Toni Morrison ( Jazz), John Edgar Wildeman ( Philadelphia Fire), and Walter Mosely ( Devil in a Blue Dress). Films covered include Falling Down, Strange Days, Hoop Dreams and Clockers. Provocative and absorbing, this interdisciplinary treatment of urban representations engages contemporary theoretical and sociological debates about race and the city.

Race and Urban Space in Contemporary American Culture (Tendencies: Identities, Texts, Cultures)

Edinburgh University Press

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