Relevant bibliographies by topics / Irish and British art

Academic literature on the topic 'Irish and British art'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Irish and British art"

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van Hoek, M. A. M. "The Rosette in British and Irish Rock Art." Glasgow Archaeological Journal 16, no. 1 (January 1989): 39–54. http://dx.doi.org/10.3366/gas.1989.16.16.39.

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Summary Discussed here is the occurrence on British prehistoric rock art sites of the ‘rosette’ – a circle of cup-marks round a central cup. The motif is rare although occurring over a wide area in Britain; the main zones of concentration are Co. Louth in Ireland, Northumberland, Galloway in Soulh-West Scotland and in Mid-Argyll, and similar motifs are found in Galicia. In contrast to the standardised and ubiquitous cup-and-ring motifs and rarer designs such as spirals, rosettes seem to have specifically local concentrations, as if they were symbols of social identification.
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van Hoek, Maarten A. M. "The Spiral in British and Irish Neolithic Rock Art." Glasgow Archaeological Journal 18, no. 1 (January 1993): 11–32. http://dx.doi.org/10.3366/gas.1993.18.18.11.

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Summary This paper provides an up-dated account of all spiral-sites in Neolithic British and Irish rock art. The focus is on spirals executed on open-air rock surfaces like outcrops and boulders; the ones in passage tombs and single graves will be discussed for comparative reasons. The paper describes many spirals recently discovered. But moreover, it introduces a new group of spirals, which, because of their specific nature, have long been taken for normal cupand-rings. It thus proves that spirals are more common in cup-and ring art than often suggested and consequently the distribution pattern of the spiral has somewhat changed. The spiral-motif has often been used, together with other symbols, to divide the Neolithic rock art of Britain and Ireland into two rather strictly separated traditions. The main conclusions of this paper are that, in the opinion of the author, there never existed two separate rock art traditions and that cupand-ring art may even be older than the passage tomb art.
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Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.

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Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.
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Lucey, Conor. "British Agents of the Irish Adamesque." Architectural History 56 (2013): 133–68. http://dx.doi.org/10.1017/s0066622x00002471.

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In the Dublin Journal of 4 April 1769, Thomas Weston, recently arrived from London and ‘versed in the Stucco Art’, announced his proficiency in the ‘Antique Taste’, having worked ‘some Years under the Designs of Mess. Adams, Chambers and Stewart [sic]’. His timing was far from coincidental: less than a month earlier the premium for the design of the Royal Exchange in Dublin, awarded to the English architect Thomas Cooley, had been announced; the competition had generated no less than thirty-three British submissions (or 60% of the total number of competitors). Just as enlightened Irish architectural critics had deemed the employment of an English architect for this particular project as ‘too obvious to be insisted upon’, so it would appear that Weston had identified an opportunity to establish himself in Ireland as an unrivalled exponent of the Neoclassical style. Some weeks later, on 27 April, Weston amended his original advertisement to record that he had ‘served his Apprenticeship to Mr. Rose of London’.
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Hardy, Jennifer K. "The Caricature Of The Irish In British And U.S. Comic Art." Historian 54, no. 2 (December 1, 1991): 283–88. http://dx.doi.org/10.1111/j.1540-6563.1992.tb00853.x.

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Casey, Terrence. "Rational Choice and British Politics: An Analysis of Rhetoric and Manipulation from Peel to Blair. By Iain McLean. Oxford: Oxford University Press, 2001. 256p. $65.00 cloth, $29.95 paper." American Political Science Review 96, no. 4 (December 2002): 858–59. http://dx.doi.org/10.1017/s0003055402810462.

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In Rational Choice and British Politics, Iain McLean applies William Riker's concept of “heresthetics” to British political history. In contrast to rhetoric (the art of persuasion), heresthetics is “the art and science of political manipulation” (p. 10). Rather than trying to convince others of one's position, heresthetics is about transforming the question and altering political dimensions so as to change the rational calculus of key actors and manufacture a supportive coalition. McLean employs the device of “analytical narratives” (historical analysis informed by rational choice methodology) to explore critical junctures in British political development, including the repeal of the Corn Laws, the Second Reform Act, the signing of the Anglo-Irish Treaty in 1922, and the political and economic revolution of Margaret Thatcher. He also explores broader political movements, including the realignment of Victorian political parties and the attempts by Joseph Chamberlain and Enoch Powell to connect race and empire into winning coalitions.
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Trew1, Johanne Devlin. "The Forgotten Irish?" Ethnologies 27, no. 2 (February 23, 2007): 43–77. http://dx.doi.org/10.7202/014041ar.

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The Irish in Newfoundland have developed their culture and identity over the past 300 years in the context of the island’s changing political status from independent territory, to British colony, and to Canadian province (since 1949). Newfoundland song, dance and dialect all display evident Irish features and have played an important role in the marketing of the province as a tourist destination. Recent provincial government initiatives to forge contacts with Celtic Tiger Ireland and thus revive this powerfully “imagined” Atlantic network have also contributed to the notion of the “Irishness” of Newfoundland culture. The narrative of Newfoundland as an Irish place, however, has always been (and continues to be) contested; this is most evident in a local discourse of space and place that is grounded in two predominant narratives of the Newfoundland nation: Republican and Confederate. The author illustrates how this contested spatial discourse has recently played out over the disputed terrain of theThe Rooms, the new home of Newfoundland’s provincial museum, art gallery and archives.
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Bogdanor, Vernon. "The British–Irish Council and Devolution." Government and Opposition 34, no. 3 (July 1999): 287–98. http://dx.doi.org/10.1111/j.1477-7053.1999.tb00482.x.

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THE BRITISH-IRISH COUNCIL SPRINGS FROM AND IS PROVIDED FOR IN the Belfast Agreement signed on Good Friday 1998. Its coming into force depends upon the implementation of the Agreement. The Council is established, however, not by the 1998 Northern Ireland Act, which gives legislative expression to the bulk of this Agreement, but by an international treaty, the British–Irish Agreement, attached to the Belfast Agreement.The Belfast Agreement together with the legislation providing for devolution to Scotland and Wales establishes a new constitutional settlement, both among the nations which form the United Kingdom, and also between those nations and the other nation in these islands, the Irish nation. The United Kingdom itself is, as a result of the Scotland Act and the Government of Wales Act, in the process of becoming a new union of nations, each with its own identity and institutions – a multi-national state, rather than, as many of the English have traditionally seen it, a homogeneous British nation containing a variety of different people.
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Ward, Margaret. "Conflicting Interests: The British and Irish Suffrage Movements." Feminist Review 50, no. 1 (July 1995): 127–47. http://dx.doi.org/10.1057/fr.1995.27.

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This article uses a case-study of the relationship between the British suffrage organization, the Women's Social and Political Union, and its equivalent on the Irish side, the Irish Women's Franchise League, in order to illuminate some consequences of the colonial relationship between Britain and Ireland. As political power was located within the British state, and the British feminist movement enjoyed superior resources, the Irish movement was at a disadvantage. This was compounded by serious internal divisions within the Irish movement — a product of the dispute over Ireland's constitutional future — which prevented the Franchise League, sympathetic to the nationalist demand for independence — from establishing a strong presence in the North. The consequences of the British movement organizing in Ireland, in particular their initiation of a militant campaign in the North, are explored in some detail, using evidence provided by letters from the participants. British intervention was clearly motivated from British-inspired concerns rather than from any solidarity with the situation of women in Ireland, proving to be disastrous for the Irish, accentuating their deep-rooted divisions. The overall argument is that feminism cannot be viewed in isolation from other political considerations. This case-study isolates the repercussions of Britain's imperial role for both British and Irish movements: ostensibly with a common objective but in reality divided by their differing response to the constitutional arrangement between the two countries. For this reason, historians of Irish feminist movements must give consideration to the importance of the ‘national question’ and display a more critical attitude towards the role played by Britain in Irish affairs.
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FREEMAN, JULIAN. "BRITISH AND IRISH ART 1945-51: FROM WAR TO FESTIVAL BY ADRIAN CLARK." Art Book 17, no. 4 (November 2010): 39–40. http://dx.doi.org/10.1111/j.1467-8357.2010.01134_16.x.

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Dissertations / Theses on the topic "Irish and British art"

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Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.

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English
Ph.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses
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Heister, Iven Lucas. "Paralysis As “Spiritual Liberation” in Joyce’s Dubliners." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500199/.

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In James Joyce criticism, and by implication Irish and modernist studies, the word paralysis has a very insular meaning. The word famously appears in the opening page of Dubliners, in “The Sisters,” which predated the collection’s 1914 publication by ten years, and in a letter to his publisher Grant Richards. The commonplace conception of the word is that it is a metaphor that emanates from the literal fact of the Reverend James Flynn’s physical condition the narrator recalls at the beginning of “The Sisters.” As a metaphor, paralysis has signified two immaterial, or spiritual, states: one individual or psychological and the other collective or social. The assumption is that as a collective and individual signifier, paralysis is the thing from which Ireland needs to be freed. Rather than relying on this received tradition of interpretation and assumptions about the term, I consider that paralysis is a two-sided term. I argue that paralysis is a problem and a solution and that sometimes what appears to be an escape from paralysis merely reinforces its negative manifestation. Paralysis cannot be avoided. Rather, it is something that should be engaged and used to redefine individual and social states.
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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Griffith, Joann D. ""All Men are Builders": Architectural Structures in the Victorian Novel." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/316376.

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English
Ph.D.
Nineteenth-century Britain experienced a confluence of a rapidly urbanizing physical environment, radical changes in the hierarchical relationships in society as well as in the natural sciences, and a nostalgic fascination with antiquities, especially gothic architecture. The realist novels of this period reflect this tension between dramatic social restructuring and a conservative impulse to remember and maintain the world as it has been. This dissertation focuses on the word structure to unpack the implications of these opposing forces, both for our understanding of the social structures that novels reflect, and the narrative structures that novels create. To address these issues, I examine the architectural structures described in Victorian realist novels, drawing parallels with their social and narrative structures. In Charles Dickens's Little Dorrit (1855), George Eliot's Adam Bede (1859), and Thomas Hardy's The Mayor of Casterbridge (1886) and Jude the Obscure (1895), descriptions of houses and barns, churches and cathedrals, shops and factories, and courthouses and schools are thematically important because they draw our attention to the novels' interest in the social structures that underlie the fictional worlds they represent. Buildings provide spaces where members of a community may work towards a shared purpose; they also embody that community's common knowledge, values, and ideals. These novels take up the thematic concern with structure through their own formal narrative structuring work. Much like an architect builds a physical structure, novels build a narrative structure by carefully arranging patterns, sequences, proportions, and perspectives. An examination of a novel's description of a building reveals moments of self-reflexive consideration of the narratives it constructs. These are moments that interrogate the building materials of narrative and how their arrangement becomes meaningful, that consider what the narrative structure can accommodate and what it excludes, and that invite us to attend to the ways in which the act of structuring a narrative situates it in time, in relation to the past, present, and future. The choices an architect makes about ornaments and materials, the way a building integrates the surrounding environment, and the way its proportions compare to a human scale, all constitute a kind of language; moreover, the way people interact with, in, and around these built spaces suggests it is a dynamic and evolving language. Preeminent Victorian art and social critic John Ruskin's architectural treatise, The Seven Lamps of Architecture (1849) serves as a master key to interpreting the Victorian understanding of architectural language in the novels under investigation. Because Ruskin's writings pervaded mid-century artistic discourse, and because he turned his critical gaze on such a wide range of the mid-nineteenth century's most important aesthetic, social, philosophical, and ethical concerns, his work provides an invaluable bridge between the physical, social, and narrative structures in these novels. Each of Ruskin's "lamps" represents a specific architectural principle; each chapter in this project pairs a novel with a lamp with thematic and formal resonance.
Temple University--Theses
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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.

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Kennedy, Colleen Elizabeth. "Comparisons Are Odorous: The Early Modern English Olfactory and Literary Imagination." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437648106.

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Worman, Sarah E. Ms. ""Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.

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Linge, John. "British forces and Irish freedom : Anglo-Irish defence relations 1922-1931." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/1689.

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Anglo-Free State relations between the wars still awaits a comprehensive study ... This is in par a reflection of the larger failure of British historians to work on Anglo-Irish history '" the Right has been ill at ease dealing with Britan's greatest failure, whilst the Left has found tropical climes more suited for the cultivation of its moral superiority. When R.F.Holland made this apposite comment, just over a decade ago, he may have been adding to the very problems he identified. Writing within the context of the 'Commonweath Alliance', he was joining a distinguished list of British and Irish historians who have sought to fiter inter-war Anglo-Free State relations through the mesh of Empire-Commonweath development. Beginning with A. Berredale Keith in the 1920s, this usage continued in either direct or indirect form (by way of particular institutions of Commonweath) from the 1930s to the 1970s through the works of W.K. Hancock, Nicholas Mansergh and D.W. Harkness, and was still finding favour with Brendan Sexton's study of the Irish Governor-Generalship system in the late 1980s.2 But herein a contradiction has developed: cumulative study of the unnatural origins and performance of the Free State as a Dominion has moved beyond questions of function to ask whether the Free State was in fact ever a Dominion at alL. 3 As such, there seems ever more need to step back from inter-Commonwealth study and refocus on the precise nature of the Free State's central relationship with Britan in this period. It is of course acknowledged that outwith the established zones of internal Irish and Empire-Imperial study there is no home or forum for one of the most enduring quandares of modern Europea history. Even if it is accepted that 'pure' Anglo-Irish history did not end in 1922, the weight of research based on the ten yeas prior, as against the ten yeas subsequent, suggests an easy acceptance, on both sides of the Irish Sea, and Atlantic, of the absolute value changes in that relationship. Studies covering the transition to independence, such as those of Joseph M. CUITan and Sheila Lawlot, have taen only tentative steps beyond 1922, and may indeed have epitomised an approach that subsequent Irish studies have done little to dispel; in the 1980s, major overviews by RF. Foster and J.J. Le have been notably reluctant to evaluate the quality of that new found freedom with continuing reference to Ireland's giant neighbour. Though Foster, and others, have noted that the main aim of the Free State in the 1920s was 'self-definition against Britan', the point is the extent to which Britan was wiling to allow the same. There has then been little impetus for direct Anglo-Free State inter-war study, and although the tide has begun to turn since the mid-1980's, notably through the achievements of Paul Canning, Deidre McMahon and, shortly before his death, Nicholas Mansergh6, it is probable that we are stil a long way short of being able to produce a comprehensive and coherent review of the period. Apar from the crucial Anglo/Irish-Anglo/Commonwealth dichotomy,there remains the political chasm dividing the Cosgrave years of the 1920s from those of de Valera's 1930s; indeed the overwhelming preoccupation with post-1931 confrontations has often, as in the case of McMahon's fine study, taen as its contrasting staing point the supposedly compliant 'pro-Treaty' years of 1922-31. It is hard to bridge this gulf when the little direct work on these earlier years, mostly concentrating on the two fundamenta issues of Boundar and financial settlement, has tended not to question this divide. Although Irish historians have turned an increasingly sympathetic eye on the internal politics and problems of these early yeas, the apathetic external image, in contrast to the later period, has been persistent. Nowhere has this negativity been more apparent than on the, also vita, topic of defence relations. For a subject that has been given more than adequate attention in terms of the 1921 Treaty negotiations and the Treaty Ports issue of the 1930s, the period in between has had little intensive coverage. In this regard the negative response of W.K.Hancock in 1937, stating that Cosgrave did not bother to question British defence imperatives, was stil being held some fifty yeas later by Paul Canning.7 Thus an enduring and importt image has emerged of defence relations re-enforcing the above divide, an image that has had to stand for the lack of new reseach. This does not mea that the image is necessarly an entirely false one, but it does mean that many of the supposed novelties of the de Valera yeas have been built on largely unknown foundations. The Treaty Ports issue is also vita to this thesis, but then so are other defence related matters which had an impact specific to the 1920s. In other words, the human and political context of how both countries, but the Irish government in paricular, coped with the immediate legacy of centuries of armed occupation, with the recent 1916-21 conflct, and with the smaller scale continuity of British occupation, was bound to cast old shadows over a new relationship. But how big were these shadows? It was on the basis of placing some detaled flesh on the skeleton of known (and unknown) policies and events that this thesis took shape. Frustrations and resentments could tae necessarily quieter forms than those which characterised the 1930s, and in the end be no less significant. If the first objective is then to make solid the continuity of defence affairs, it is appropriate to begin with a brief evaluation of the Treaty defence negotiations before tang a close look at British operations in the South in 1922 - the year when a reluctant Cosgrave was to inherit a situation where British forces were close to the development of civil war. Despite our growing knowledge of Britan's part in the progress of that war, there is stil a general perception that its forces became peripheral to events after the Truce of July 1921, and that its Army was, and had been, the only British Service involved in the struggle against armed republicanism.This is simply not the case, and it is to be wondered whether the proper absorption of Irish historians with the internal dynamics of the period, together with the authoritative quality of Charles Townshend's history of the 1919-21 British campaign, have not produced inhibitions to wider inquiry. 8 In any event, as the Admiralty was to play a central par in later defence relations it seems right to introduce, for the first time, the Royal Navy's importt role in the events of 1922. The point here is to establish that the actions and perceptions of both Services were to have repercussions for later attitudes. After these chapters, the following two aim to look at the cumulative legacy of British involvement and how both countries adjusted to the many unresolved questions thrown up by the Treaty and the unplanned contingencies of 1922. Retaining the theme that neither country could escape the past, nor trust to the future, chapter six returns to the physical and political impact made by the continuing presence of British forces in and around the three Treaty Ports, and along and across the Border. The final two chapters explore how all these factors helped determine the conditions for, and consequences of, one of the most damaging episodes of the later 1920s - the complete failure of the joint coasta defence review scheduled for December 1926.In all, the cumulative emphasis on the politics of defence may ilustrate what it was to be a small aspiring country that had little choice but to accept Britan's version of what was an inevitably close relationship, and to endure what Britan claimed as the benign strategic necessity of continued occupation.
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Rice, B. M. "British and Irish state responses to militant Irish republicanism, 1968-1971." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680387.

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This thesis has as its focus the reactions of the British Government and the Government of the Republic of Ireland to the growth of militant Irish Republicanism and the deteriorating political and social situation in Northern Ireland, during the period 1968-1971. A granular analysis of the various agents of each state allows the complexity of the developing conflict to be shown. What emerges is a picture of strategy and policymaking which emanates from a range of different actors from political, diplomatic, military and civil service spheres. To date, studies of the period have tended to treat the respective states as monolithic; the approach here is to disaggregate, to allow the cross currents ' and purposes of policymaking and strategising, which served the differing agendas of individuals and departments within the states to be fully laid bare. The situation on the ground in Northern Ireland is the backdrop for all state activity, and the analpis offered here of power plays and internal dynamics within the Republican movement itself, shows that movement to be an evolving one during the period, and one which was afforded space to develop and expand by the management of the conflict by the respective states. Northern Ireland, a relative backwater in 1968, was pushed to the top of the political agenda in both Dublin and London, and was on the international stage by 1972. Extensive evidence from primary sources from this crucial period is presented here in an analysis of the activity of the Irish and British States, to gain an understanding of the processes in operation as they reacted to the rapidly-evolving events on the ground.
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Campbell, Barber Fionna. "The time of Irish art." Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/621811/.

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How might an understanding of the temporal help us to engage with the visual? To what extent is this mediated by a sense of location - in this case within (or about) Ireland? This thesis takes the form of an enquiry into the meanings of time in relation to Irish art over a period of approximately one hundred years from 1910 onwards. Rather than a focus on the production of meaning within artworks themselves, however, the thesis is concerned with art historiography - an investigation into the wider discursive content of a selection of my published work between 2013-2018. In doing so it establishes a critical and distinctive position for the importance of time and temporality not just in relation to the broader field of art history, but within a wider understanding of the historical formations of Irish visualities. To achieve this, I focus on the deconstruction of selected notions of temporality within the discourses of art history (the role of linear histories, canons and contemporaneity) in conjunction with an analysis of the specificity of Irish temporalities. This takes two forms: evidencing the uneven experience of modernity and the active presences of traumatic memory, both legacies of colonialism, as a means of undoing the progressive drive of linear history, and an accompanying analysis of the complex temporalities of post-conflict Northern Ireland, as a means of more specifically situating how art historical writing can produce the meanings of its artworks in both locations. Finally, in conjunction with a return to the written work submitted to accompany this thesis, I map out further directions this can take, as a means of understanding the crucial role of past modes of temporalities in an engagement with the present and an attempt to shape the future.
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Books on the topic "Irish and British art"

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Art without category: British & Irish art from the Anthony Petullo collection. Milwaukee [Wis.]: Petullo Pub., 2009.

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Petullo, Anthony. Art without category: British & Irish art from the Anthony Petullo collection. Milwaukee [Wis.]: Petullo Pub., 2009.

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Clark, Adrian. British and Irish art, 1945-1951: From war to festival. London: Hogarth Arts, 2010.

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Museum, Fogg Art. British and Irish silver in the Fogg Art Museum, Harvard University Art Museums. Cambridge, Mass: Harvard University Art Museums, 2007.

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Sotheby, Parke-Bernet, London. Modern British and Irish art: Auction ... Wednesday 3 December 2003 .... London: Sotheby's, 2003.

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Manson and Woods Ltd Christie. 20th century British & Irish art: Including property from The Reader's Digest Association Inc. : Friday 19 November 2004. London: Christie's, 2004.

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Britain & Ireland: Contemporary art + architecture handbook. San Francisco, CA: art-SITES, 2000.

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Museum, Ulster. Ac oncise catalogue of the drawings, paintings & sculptures in the Ulster Museum: A-Z. Belfast: Ulster Museum, 1986.

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Charlotte, Gere, and National Art-Collections Fund (Great Britain), eds. The art collections of Great Britain and Ireland: The National Art-Collections Fund book of art galleries and museums. New York: Abrams, 1986.

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Insular and Anglo-Saxon art and thought in the early medieval period. [Princeton, N.J.]: Index of Christian Art, Dept. of Art and Archeology, Princeton University, 2011.

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Book chapters on the topic "Irish and British art"

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Brück, Mary. "The Art of Navigation." In Women in Early British and Irish Astronomy, 45–56. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2473-2_4.

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Kenny, John. "William Trevor: Uncertain Grounds for Assured Art." In A Companion to the British and Irish Short Story, 480–87. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444304770.ch42.

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Malcolm, David. "Rudyard Kipling's Art of the Short Story." In A Companion to the British and Irish Short Story, 114–28. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444304770.ch8.

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McGowan, Louise. "Are MATS and Academies a Threat to Catholic Education?" In Irish and British Reflections on Catholic Education, 173–82. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-9188-4_14.

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Muller, Janet. "The British Government Commitment to Enact the Irish Language Act." In Language and Conflict in Northern Ireland and Canada, 119–46. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281677_7.

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Gibbons, Ivan. "Partition Established: The Labour Party and the Government of Ireland Act 1920." In The British Labour Party and the Establishment of the Irish Free State, 1918–1924, 79–93. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137444080_4.

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"British Law and the Irish Other." In At the Margins of Victorian Britain. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755621293.ch-002.

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Nelson, Bruce. "“Because we are white men”." In Irish Nationalists and the Making of the Irish Race. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691153124.003.0007.

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This chapter examines Irish nationalism in the context of the British Empire and its rapid expansion in the second half of the nineteenth century. It focuses on Erskine Childers who participated in the South African War as a volunteer member of an artillery company that augmented the regular British military forces. The son of an English father and an Irish mother, he entered the war as a British patriot but in its aftermath became a pro-Boer and, soon thereafter, an Irish nationalist. He had much in common with the white South African Jan Christian Smuts, who was also a participant in the war as a political and military leader of the Boer republics. Both men were deeply concerned with the place of the white settler colonies, or dominions, in the emerging British Empire–Commonwealth, but ultimately they went in markedly different directions.
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May, William. "Verbal and visual art in twentieth-century British women’s poetry." In The Cambridge Companion to Twentieth-Century British and Irish Women's Poetry, 42–61. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521197854.004.

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Vassell, Olive. "The Black British and Irish Press." In The Edinburgh History of the British and Irish Press, Volume 3, 396–413. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424929.003.0020.

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The black British press has since its inception in 1900 been rooted in several connected struggles. They are: the push for African and Caribbean independence, and the creation of a collective cultural and political black identity based in African roots; the formation of community and belonging for largely Caribbean immigrants following the post-World War II mass migration, and the reflection and reinforcement of identity for black British-born citizens outside of white political, social, economic and cultural hegemony. However, it has not only played a pivotal role in addressing issues of liberation and community building, but also in helping to define the public discourse surrounding the definition of what it means to be both black and British, not just for blacks, but for the entire British society. This chapter examines the history of black British newspapers and periodicals through these three distinct periods of social change and the critical role they have played in each of them.
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Conference papers on the topic "Irish and British art"

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Малкин, С. Г. "“IRISH WAR” AND INTERNAL SECURITY’ STRATEGY IN THE XXth CENTURY’ BRITAIN." In Конференция памяти профессора С.Б. Семёнова ИССЛЕДОВАНИЯ ЗАРУБЕЖНОЙ ИСТОРИИ. Crossref, 2021. http://dx.doi.org/10.55000/mcu.2021.46.71.021.

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На протяжении продолжительного времени историки и эксперты рассматривали Войну за независимость Ирландии в 1919–1921 гг. как первый масштабный и неудачный опыт британских сил безопасности по противодействию повстанческой активности современного типа. В статье об-ращается внимание на ряд важных аспектов участия британских сил безопасности в «Ирландской войне», все еще недооцененных в академических и экспертных кругах. С теоретической точки зрения особый интерес в этом смысле представляют параллели как тактического, так и стратеги-ческого характера, c беспорядками в Северной Ирландии в 1968–1998 гг. Однако основу исследо-вательского подхода в данной статье составляет сопоставление архивных свидетельств и спектра угроз Британской империи во время «Ирландской войны». For the most part historians and experts share the view that the “Irish War” of Independence in 1919–1921 was the first and an unsuccessful experience for the British army in conducting modern counterinsurgency. This article highlights some important aspects of the British forces’ conduct in the “Irish war” still are undervalued in academic and expert circles. Theoretically there are useful parallels, tactical as well as strategic, in concern with the Northern Ireland Troubles in 1968–1998, which formed a special interest. But the main research approach of this article based on comparisons of the archival evidence with the specter of threats for the British Empire during the “Irish war”.
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Herrick, R. J., and J. M. Jacob. "The art and technology of teaching." In IET Irish Signals and Systems Conference (ISSC 2006). IEE, 2006. http://dx.doi.org/10.1049/cp:20060404.

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Bangham, J. A., S. E. Gibson, and R. Harvey. "The Art of Scale-Space." In British Machine Vision Conference 2003. British Machine Vision Association, 2003. http://dx.doi.org/10.5244/c.17.58.

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Crowley, Elliot J., Omkar M. Parkhi, and Andrew Zisserman. "Face Painting: querying art with photos." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.65.

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Zhu, Hongyuan, Shijian Lu, Jianfei Cai, and Guangqing Lee. "Diagnosing state-of-the-art object proposal methods." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.11.

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O'Grady, P. D., and S. T. Rickard. "Automatic ASCII art conversion of binary images using non-negative constraints." In IET Irish Signals and Systems Conference (ISSC 2008). IEE, 2008. http://dx.doi.org/10.1049/cp:20080660.

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Zhang, Lei. "An Archetypal Interpretation of Irish Murdoch’s The Black Prince." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.027.

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Crowley, Elliot, and Andrew Zisserman. "Of Gods and Goats: Weakly Supervised Learning of Figurative Art." In British Machine Vision Conference 2013. British Machine Vision Association, 2013. http://dx.doi.org/10.5244/c.27.39.

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Crowley, Elliot, and Andrew Zisserman. "The State of the Art: Object Retrieval in Paintings using Discriminative Regions." In British Machine Vision Conference 2014. British Machine Vision Association, 2014. http://dx.doi.org/10.5244/c.28.38.

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Craddock, P. T. "Radiographic and microanalytical techniques at the British Museum." In IEE Colloquium on `NDT in Archaeology and Art'. IEE, 1995. http://dx.doi.org/10.1049/ic:19950771.

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Reports on the topic "Irish and British art"

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Heatherly, Christopher J. Cogadh na Saoirse: British Intelligence Operations During the Anglo-Irish War (1916-1921). Fort Belvoir, VA: Defense Technical Information Center, May 2010. http://dx.doi.org/10.21236/ada523173.

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Paradis, S. Carbonate-hosted Zn-Pb deposits in southern British Columbia - potential for Irish-type deposits. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/224161.

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Galenson, David. Do the Young British Artists Rule (or: Has London Stolen the Idea of Postmodern Art from New York?): Evidence from the Auction Market. Cambridge, MA: National Bureau of Economic Research, October 2005. http://dx.doi.org/10.3386/w11715.

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Campbell, Stephen A. A Framework for Failure? The Impact of Short Tour Lengths and Separate National Command and Control on British Operational Art and Coalition Warfare in Iraq, 2003-2009. Fort Belvoir, VA: Defense Technical Information Center, December 2013. http://dx.doi.org/10.21236/ada606037.

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