Bibliographies thématiques / Arts – Northern Ireland – Belfast

Littérature scientifique sur le sujet « Arts – Northern Ireland – Belfast »

Auteur : Grafiati

Publié le 27 juillet 2024

Mis à jour le 28 juillet 2024

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Articles de revues sur le sujet "Arts – Northern Ireland – Belfast"

Brunsdon, Charlotte. « The New Northern Ireland as a Crime Scene ». Journal of British Cinema and Television 20, n^o 3 (juillet 2023) : 305–28. http://dx.doi.org/10.3366/jbctv.2023.0678.

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This article explores the increased attractiveness of a ‘post-conflict’ Belfast as a television setting for British television police series. The Fall (2013, 2016), Bloodlands (2021) and Marcella (2021) are all set in Belfast, while most of the hit series Line of Duty (2012–) has been filmed in Northern Ireland. How do these new Belfast-set crime dramas negotiate the tropes and iconography of twentieth-century Troubles Belfast, while also participating in the transformation of the city associated with the arrival of transnational audiovisual industries? While recognising that much recent scholarship focuses on the creation of the Titanic Quarter through the redevelopment of the Harland & Wolff shipyard and the production of the HBO-Warner series, Game of Thrones, this article pursues the recent appearances of contemporary Belfast on screen in Bloodlands, Marcella (2021) and Line of Duty. Building on scholarship, such as the work of John Hill, Martin McLoone and Ruth Barton which has established the contours of the Troubles film, the history of Belfast on film and genre in the Northern Ireland context, the existence of an identifiable chronotope ‘Troubles Belfast’ is proposed. Is Belfast recognisable as a specific place outside a Troubles chronotope? What are the stories that can be told of Northern Ireland outside a Troubles chronotope? In particular, which is pertinent to an industry desperate to maintain its attractiveness to transnational productions, the tension between the identification of Belfast as a specific place and the generation of new and different stories is explored in the case studies. To what extent is the televisual use of the new screen Belfast caught in the paradox that it is the old Belfast which makes it an attractive setting for crime drama?

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FitzGerald, Lisa, Eva Urban, Rosemary Jenkinson, David Grant et Tom Maguire. « Human Rights and Theatre Practice in Northern Ireland : A Round-Table Discussion ». New Theatre Quarterly 36, n^o 4 (novembre 2020) : 279–91. http://dx.doi.org/10.1017/s0266464x20000664.

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This round-table discussion, edited by Eva Urban and Lisa FitzGerald, took place on 5 July 2019 as part of the conference ‘New Romantics: Performing Ireland and Cosmopolitanism on the Anniversary of Human Rights’ organized by the editors at the Brian Friel Theatre, Queen’s University Belfast. Lisa FitzGerald is a theatre historian and ecocritic who completed postdoctoral fellowships at the Centre de Recherche Bretonne et Celtique (CRBC), Université Rennes 2 and the Rachel Carson Centre for Environment and Society, Ludwig Maximilian University of Munich. She is the author of Re-Place: Irish Theatre Environments (Peter Lang, 2017) and Digital Vision and the Ecological Aesthetic (forthcoming, Bloomsbury, 2020). Eva Urban is a Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security, and Justice, Queen’s University Belfast, and an Associate Fellow of the Institute of Irish Studies, QUB. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and La Philosophie des Lumières dans le Théâtre Breton: Tradition et Influences (Université de Rennes, 2019). Rosemary Jenkinson is a Belfast playwright and writer of five short story collections. Her plays include The Bonefire (Rough Magic), Planet Belfast (Tinderbox), White Star of the North, Here Comes the Night (Lyric), Lives in Translation (Kabosh Theatre Company), and Michelle and Arlene (Accidental Theatre). Her writing for radio includes Castlereagh to Kandahar (BBC Radio 3) and The Blackthorn Tree (BBC Radio 4). She has received a Major Individual Artist Award from the Arts Council of Northern Ireland to write a memoir. Tom Maguire is Head of the School of Arts and Humanities at Ulster University and has published widely on Irish and Scottish theatre and in the areas of Theatre for Young Audiences and Storytelling Performance. His heritage research projects include the collection Heritage after Conflict: Northern Ireland (Routledge, 2018, co-edited with Elizabeth Crooke). David Grant is a former Programme Director of the Dublin Theatre Festival and was Artistic Director of the Lyric Theatre in Belfast. He has worked extensively as a theatre director throughout Ireland and is co-investigator of an AHRC-funded research project into Arts for Reconciliation. He lectures in drama at Queen’s University Belfast.

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Johnston, William. « The Renal Arts Group : a source of creativity and communication ». Journal of Kidney Care 4, n^o 5 (2 septembre 2019) : 277–78. http://dx.doi.org/10.12968/jokc.2019.4.5.277.

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The potential benefits of participating in arts while on dialysis and post-transplant is now being acknowledged. William Johnston, Northern Ireland Advocacy Officer, Kidney Care UK, outlines his own renal arts journey and how the Renal Arts Group (Queens University Belfast) was created and developed, and its contribution to the momentum of the renal arts movement.

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Kitchin, Rob, et Karen Lysaght. « Sexual citizenship in Belfast, Northern Ireland ». Gender, Place & ; Culture 11, n^o 1 (mars 2004) : 83–103. http://dx.doi.org/10.1080/0966369042000188567.

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Johnson, Tim. « OUT OF BELFAST AND BELGRADE : THE RECENT MUSIC OF IAN WILSON ». Tempo 57, n^o 224 (avril 2003) : 2–10. http://dx.doi.org/10.1017/s004029820300010x.

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1998 was a dramatic year for Ian Wilson. Already established as one of Ireland's leading young composers, that was the year he was elected to the exclusive Irish arts affiliation Aosdána (one of fewer than 20 musicians among its 200 members); his piano trio The Seven Last Words was included in the Northern Ireland A-level music syllabus (a rare ‘distinction’ for any living composer); he moved to Belgrade to be with his partner Danijela Kulezic; and his first son, Adam, was born.

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Carlsten, Jennie. « Feelings and Facts : Agency in Northern Irish Cinema ». Journal of British Cinema and Television 20, n^o 3 (juillet 2023) : 345–64. http://dx.doi.org/10.3366/jbctv.2023.0680.

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Northern Irish cinema has long had an ambivalent relationship to the representation of history, sometimes implicitly rejecting ‘rational’ or ‘objective’ approaches in favour of emphasising the untidy and subjective emotions of its historical narratives. More recently, the films made in and about Northern Ireland have reflected a loss of agency, in particular, the sense of efficacy, locus of control and prospection which creates a belief in our ability to change our environment. Meanwhile, neoliberalism, placing the responsibility for recovery on the individual while removing systems of economic, social and cultural support, creates the conditions under which this loss of agency becomes crisis. The promotion of individual interest obstructs collective political action and progressive change. This article considers the representation of agency in two recent films about the Troubles, Belfast (2022) and I Am Belfast (2015), suggesting that film can – but does not necessarily – offer a space for emotional reflection and restoration of agency.

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Granshaw, Michelle. « Performing the Northern Athens : Dr. Corry's Diorama of Ireland and the Belfast Riot of 1864 ». Theatre Survey 61, n^o 1 (janvier 2020) : 102–28. http://dx.doi.org/10.1017/s0040557419000450.

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Although sectarian violence characterized life in Belfast for hundreds of years, 1864 marked a shift in how violence played out in the city. Unlike previous conflicts that occurred in open spaces and reflected long-held rural rituals, the riots of August 1864 took place in the city's rapidly developing urban streets. The violence broke out in response to celebrations around the foundation laying for a new statue of Daniel O'Connell, the late Catholic politician, in Dublin. Thousands of Belfast Catholics traveled to Dublin for the celebration. Upon their return to Belfast, ten thousand Protestant loyalists greeted them by burning an effigy of O'Connell on Boyne Bridge and staging a mock funeral and procession that attempted to enter a Catholic burial ground. The resulting violence and rioting continued for ten days on the city streets, where homes and businesses faced destruction on a scale previously unseen. Expelling residents of opposing views, rioters reinforced older ideas of “communal conflict” expressed through “disagreements over each group's place—literally and imaginatively—in the city” and strengthened notions of neighborhood geography based on religious beliefs. As historian Mark Doyle argues, the shifting patterns of violence resulted from “[t]he steady advance of working-class alienation from the state, the growing hegemony of violent extremists in working-class neighbourhoods, the sectarian alliance between Protestant workers and elites, the insecurity of the Catholics and, above all, the polarising effects of earlier outbreaks of violence.” Lasting reminders of conflict lingered as the city recovered, reminding anyone walking the streets of the city's violent past and the likely potential of future clashes.

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Carville, Conor. « ‘Room to Rhyme’ : Heaney, Arts Policy and Cultural Tradition in Northern Ireland 1968–1971 ». Review of English Studies 71, n^o 300 (16 décembre 2019) : 554–68. http://dx.doi.org/10.1093/res/hgz136.

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Abstract Drawing on extensive research in Arts Council and government archives in Belfast and the collections of Seamus Heaney’s manuscripts, this essay reconstructs for the first time Northern Irish state cultural policy at the height of the crisis years 1968–1972. It also examines the response of a major poet to this policy, through a genetic mapping of the complex development of Heaney’s poem ‘The Last Mummer’, between 1969 and its publication in 1972. The poem refers to the mumming plays practiced at Christmas when troupes of young men, or ‘Rhymers’ would enter and perform in the houses of both communities in the North. This practice also informed ‘Room to Rhyme’, the Arts Council sponsored 1968 tour of several towns in Northern Ireland by Heaney and Michael Longley and the folk musician Davy Hammond. The make-up of the performers on the tour, the itinerary and accompanying booklet, suggest a deliberate attempt on the part of the Arts Council Northern Ireland to assert a role for itself, and for culture, in the political thaw of the time. In the years immediately after the tour, however, major confrontations between civil rights marches and police, widespread sectarian rioting and ultimately troops on the streets, resulted in even more extreme polarization in the North. As this essay shows, Heaney’s manuscripts from this period provide a valuable resource for the examination of the relationship between poetry, the public sphere and notions of cultural tradition in early 1970s Northern Ireland.

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HUDDLESON, RICHARD. « Brave New Worlds ? COVID-19 and Irish-Language Theatre Produced under Lockdown in Northern Ireland ». Theatre Research International 48, n^o 1 (9 février 2023) : 67–81. http://dx.doi.org/10.1017/s0307883322000414.

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Taking a closer look at the digital monologue series Go mBeire Muid Beo (May We Be Alive [to See Each Other Again]), which was produced by the Belfast-based Irish-language theatre company Aisling Ghéar, this article seeks to document Irish-language theatre produced under coronavirus lockdown measures in Northern Ireland, whilst acknowledging the various issues that continue to haunt the Irish language, and highlighting the particular dangers and potential pitfalls in a context where very limited funding for theatre continues to dwindle. Through an analysis of the monologue series, its content, and the wider sociopolitical context that engulfs Irish-language theatre in Northern Ireland, this article also provides an important snapshot of current and ongoing debates within Irish-language theatre at a critical juncture.

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Horning, Audrey J. « Focus found. New directions for Irish historical archaeology ». Archaeological Dialogues 13, n^o 2 (11 octobre 2006) : 211–19. http://dx.doi.org/10.1017/s1380203806262093.

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In 1999 the Irish Post-Medieval Archaeology Group (IPMAG) was established by a diverse group of Northern Ireland archaeologists and heritage professionals, drawn from the commercial, government, museum and university sectors. The aims of the organization, discussed at length at the group's inaugural conference held in Belfast in February of 2001, include (one) undertaking initiatives to raise the profile of post-medieval archaeology within the whole of Ireland, (two) fostering greater contacts between those individuals engaged in researching the archaeology, history and culture of post-1550 Ireland and (three) lobbying for increased academic attention to be paid to the period within Irish universities. That the organization has made progress in approaching these aims is clear, as acknowledged by Tadhg O'Keeffe: ‘the archaeological study of the “historical” (post-fifteenth-century) past is now a big deal in Ireland’. IPMAG conferences have been held in conjunction with academic institutions (Queen's University, Belfast, 2001; Trinity College, Dublin, 2002; University of Ulster, 2004; University College, Cork, 2006), public institutions (Ulster Museum, 2003), and commercial archaeology companies (Aegis Archaeology, Ltd, Limerick, 2005).

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Thèses sur le sujet "Arts – Northern Ireland – Belfast"

Cuny, Lara. « Between the State and the Arts ˸ Council for the Encouragement of Music and the Arts/Arts Council of Northern Ireland (1943-2016) ». Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030041.

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En 1939, le Council for the Encouragement of Music and the Arts (CEMA) est créé en Grande-Bretagne afin de financer la production artistique. Quatre ans plus tard, sous les pressions du gouvernement de Londres, la même institution est constituée en Irlande du Nord. N’étant pas le fruit d’une volonté politique locale, le CEMA (NI) mettra de longues années à faire accepter le principe d’un soutien public aux arts. Ce travail étudie cette institution, renommée Arts Council of Northern Ireland (ACNI) en 1963, dans toutes ses dimensions : politique, économique, sociale, identitaire, culturelle et, bien sûr, artistique. En effet, si les fonctions et le budget du CEMA sont extrêmement restreints en 1943, le Conseil acquiert de nombreuses responsabilités et s’affirme progressivement, même si sa ligne directrice reste très influencée, voire contrôlée, par le gouvernement unioniste. A partir des année 1970, le conflit opposant républicains et loyalistes l’oblige néanmoins à se replier sur lui-même et à se murer dans une politique souvent critiquée comme élitiste, afin de maintenir une neutralité qu’il juge irréprochable. Par la suite, le processus de paix lui confère un réel rôle en termes de promotion de la réconciliation entre les communautés. La création d’un ministère de la Culture en 1998 augmente son intégration dans une politique culturelle menée par un gouvernement local de coalition. La culture, en tant que révélatrice des identités régionales, demeure cependant un point controversé et clivant, certains universitaires allant jusqu’à dire qu’il s’agit maintenant d’une guerre non plus armée, mais culturelle
In 1939, as war had just broken out, the Council for the Encouragement of Music and the Arts (CEMA) was created in Great Britain to finance the arts. Four years later, the same organisation was established in Northern Irelad because of the pressure coming from the London government. As it was not born out of regional political conviction, CEMA (NI) struggled for years to get the principle of public support for the arts accepted.The present work studies this organisation, which was renamed Arts Council of Northern Ireland (ACNI) in 1963, under various angles: political, economic, social, cultural and, of course, artistic. It will also question the arm’s length principle and the separation between the realm of politics and that of the arts that the Council was supposed to guarantee. Indeed, even though the role and the budget of CEMA were extremely limited in 1943, the Council progressively acquired numerous responsibilities. This did not go unnoticed by the unionist government, which sought to control CEMA/ACNI and how it distributed grants. With the outbreak of the Troubles in the late 1960s, the Council increasingly isolated itself in order to be recognised as neutral in the conflict. However, this also pushed it to put in place a policy that was perceived as elitist and cut out from the population. In the 1990s, the Peace Process gave ACNI a new role in the promotion of reconciliation between the communities. With the creation of the Department of Culture, Arts and Leisure in 1998, the Council was further integrated into the cultural policy framework of the regional and power-sharing government. Nevertheless, culture remained a sore point and a divisive issue in Northern Ireland, with academics going as far as to say that the conflict has now become a cultural war

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Hamayon-Alfaro, Hélène. « Les arts communautaires à Belfast de 1979 à 2006 : de la marge au consensus ? » Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030143.

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Ce travail de recherche explore les raisons et les enjeux de l’essor des arts communautaires à Belfast de 1979 à 2006. Il a pour objectif de mettre en relief une interdépendance entre les stratégies déployées pour résoudre le conflit nord-irlandais et le développement des arts communautaires. Nous avons, dans un premier temps, analysé le contexte dans lequel les arts communautaires ont émergé à Belfast. Nous avons, ensuite, étudié en parallèle le développement des stratégies mises en œuvre tant sur le plan national qu’européen et l’essor des arts communautaires. Principalement présents dans les quartiers catholiques, les arts communautaires ont d’abord été l’expression d’une résistance aussi bien artistique que politique. Au cours des années 90, le regard que les milieux décisionnels portent sur les arts communautaires évolue, notamment sous l’impulsion de l’Europe dont les Programmes pour la Paix et la Réconciliation encouragent la participation des habitants à des projets variés. Identifiés comme moteur de changement, les arts communautaires apparaissent en mesure de répondre aux attentes gouvernementales et européennes en termes de construction de la paix, de cohésion sociale, de relations communautaires et de développement économique. Dans un contexte de sortie de conflit, la municipalité de Belfast, désireuse de transformer l’image de la ville et de s’ouvrir sur l’extérieur, place les arts et la culture au cœur d’une stratégie de reconversion urbaine
This dissertation looks into the factors that have caused the Belfast community arts sector to grow over a period of time that was marked by major political changes. Indeed, in the 80s community arts, which developed primarily in Catholic working-class areas against a backdrop of communal violence and community activism, were marginalised, undervalued and underfunded. In the 90s, this situation gradually changed as the British government and Europe came to realise the contribution community arts could make to peace building, social cohesion, community relations and economic development by enhancing community confidence. The impact this shift in approach has had, has been particularly impressive in the field of arts and culture where cultural trends promoting greater participation and wider access to the arts have gained momentum. In practice, the gradual move from arts policy to cultural policy has meant that community arts have been placed! at the heart of Belfast’s regeneration process and increasingly used as a tool to further public policies

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Nelson, Andrew J. « Belfast : Perspectives of a City ». Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500003/.

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This thesis film is an examination of my evolving perspectives and understanding of my Irish heritage as I travel to the city of Belfast, Northern Ireland. Through the course of a year and a half, I traveled to Belfast to explore the modern state of the sectarian conflicts between the Catholic and Protestant communities. Through the use of personal reflection, historical research, interviews with local residents, and on-location experiential learning, I began to learn not only about the modern state of Belfast and its economic and social climate, but also about the complexities of personal cultural identification and the concept of “truth” and “mutual guilt” when associated with acts of violence. With the use of the short documentary as the medium of choice, I am able to relay to audiences not only my own personal reflection of identity and history, but then allow them to reflect on their own perspectives as well, helping to create sincere moments of personal thought and reflections.

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Harrison, Jessica. « Dissolving boundaries a catalytic approach to ameliorate Belfast, Northern Ireland / ». This title ; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Benedetti, Alexa Leigh. « Civil Religion Iconography : A New Theoretical Perspective Regarding Public Art ». Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445889.

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Based‌ ‌on‌ ‌the‌ ‌idea‌ ‌that‌ ‌public‌ ‌art‌ ‌reflects‌ ‌cultural‌ ‌values‌ ‌and‌ ‌is‌ ‌meant,‌ ‌not‌ ‌as‌ ‌many‌ ‌have‌ ‌argued‌ ‌as‌ ‌a‌ ‌means‌ ‌of‌ ‌teaching‌ ‌history,‌ ‌but‌ ‌rather‌ ‌as‌ ‌a‌ ‌means‌ ‌of‌ ‌promoting‌ ‌cultural‌ ‌ideals,‌ ‌ ‌public‌ ‌art‌ ‌serves‌ ‌a‌ ‌role‌ ‌in‌ ‌lauding‌ ‌people‌ ‌and‌ ‌behaviors‌ ‌and‌ ‌reflects‌ ‌a‌n important facet in the ‌creation‌ ‌of‌ ‌a‌ ‌national‌ ‌identity‌ ‌and‌ ‌ethos. Further,‌ ‌that‌ ‌in‌ ‌this‌ ‌function‌ ‌of‌ ‌promoting‌ ‌societal‌ ‌norms,‌ ‌public‌ ‌art‌ ‌serves‌ ‌as‌ an‌ iconography ‌of‌‌ a “civil ‌religion”‌ ‌which‌ ‌tell‌s ‌a‌ ‌story‌ ‌to‌ ‌the‌ ‌citizenry‌ ‌about‌ ‌what‌ ‌a‌ ‌given‌ ‌country‌ ‌admires,‌ ‌reveres‌ ‌and‌ ‌aspires‌ ‌to‌ ‌and‌ ‌promotes‌ ‌a‌ ‌specific‌ ‌moral‌ ‌narrative‌ ‌regarding‌ ‌a‌ ‌country‌ ‌and‌ ‌its‌ ‌people.‌ ‌Thus,‌ ‌public‌ ‌art‌ ‌forms‌ ‌an‌ ‌iconography‌ ‌reflecting‌ ‌the‌ ‌norms‌ ‌of‌ ‌the‌ ‌“civil ‌religion”‌ ‌and‌ ‌its‌ ‌related‌ ‌mores,‌ ‌morals‌ ‌and‌ ‌ethical‌ ‌values.‌ ‌

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Moran, Jade. « Informal justice in West Belfast : the local governance of anti-social behaviour in Republican communities ». Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609000.

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Rowlett, S. E. « Heroes and villains : the life and times of the west Belfast joyriders : a study of contemporary youth lifestyles in the sectarian communities of nationalist and loyalist west Belfast ». Thesis, Queen's University Belfast, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273362.

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Lane, Karen. « Not-the-Troubles : an anthropological analysis of stories of quotidian life in Belfast ». Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15591.

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To understand the complexity of life in a city one needs to consider a spectrum of experience. Belfast has a history of conflict and division, particularly in relation to the Troubles, reflected in comprehensive academic studies of how this has affected, and continues to affect, the citizens. But this is a particular mode of representation, a vision of life echoed in fictional literature. People's quotidian lives can and do transcend the grand narratives of the Troubles that have come to dominate these discourses. Anthropology has traditionally accorded less epistemological weight to fleeting and superficial encounters with strangers, but this mode of sociality is a central feature of life in the city. The modern stranger navigates these relationships with relative ease. Communicating with others through narrative – personal stories about our lives – is fundamental to what it is to be human, putting storytelling at the heart of anthropological study. Engagements with strangers may be brief encounters or build into acquaintanceship, but these superficial relationships are not trivial. How we interact with strangers – our public presentation of the self to others through the personal stories we share – can give glimpses into the private lives of individuals. Listening to stories of quotidian life in Belfast demonstrates a range of people's existential dilemmas and joys that challenges Troubled representations of life in the city. The complexity, size and anonymity of the city means the anthropologist needs different ways of reaching people; this thesis is as much about exploring certain anthropological methodologies as it is about people and a place. Through methods of walking, performance, human-animal interactions, my body as a research subject, and using fictional literature as ethnographic data, I interrogate the close relationship between method, data and analysis, and of knowledge-production and knowledge-dissemination. I present quotidian narratives of Belfast's citizens that are Not-the-Troubles.

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Weiant, Lydia. « When Law Falls Short : Informal Justice Initiatives in West Belfast, Northern Ireland ». Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461266200.

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Williams, Jennifer L. « ADVICE, INFLUENCE, AND INDEPENDENCE : ADOLESCENT NUTRITIONAL PRACTICES AND OUTCOMES IN BELFAST, NORTHERN IRELAND ». UKnowledge, 2013. http://uknowledge.uky.edu/anthro_etds/9.

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The goal of this dissertation is to discuss relationships between the sociocultural environment and nutritional status outcomes in an urban industrialized city with high rates of poverty. The purpose is to highlight the complex web of factors shaping nutritional status outcomes and move beyond cause and effect approaches to nutrition in an environment where obesity is a central nutritional concern. To accomplish this goal, I examine a range of factors that relate to adolescent nutritional practices and nutritional status outcomes in a sample population of adolescents living in Belfast, Northern Ireland. I discuss connections between social locations such as age, gender, geographic area, and socioeconomic status. I also highlight the range of nutritional status outcomes observed in the sample population, while examining broader social, political, and economic aspects of the lives of adolescents that differentially shape nutrition-related experiences in the city. Finally, I demonstrate that adolescents occupy a complex social location in which autonomy, advice, and influence from sociocultural and political-economic factors shape their diet and exercise practices and nutritional status outcomes in multi-faceted, and at times unexpected, ways. In doing so, I emphasize the benefits of a localized, rather than a globalized approach to nutritional concerns such as obesity.

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Livres sur le sujet "Arts – Northern Ireland – Belfast"

Keyes, John. Going dark : Two Ulster theatres. Belfast : Lagan Press, 2001.

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Whitney, Chadwick, et San Francisco State University. Art Dept. Gallery., dir. Crossing boundaries--Belfast : Contemporary art from Northern Ireland. San Francisco, CA : Art Department Gallery, San Francisco State University, 1996.

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Great Britain. Northern Ireland Audit Office. Imagine Belfast 2008 : Report by the Comptroller and Auditor General. London : Stationery Office, 2004.

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1972-, Allen Nicholas, et Kelly Aaron, dir. The cities of Belfast. Dublin, Ireland : Four Courts Press, 2003.

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Linen Hall Library (Belfast, Northern Ireland). Troubled Images : Posters and Images of the Northern Ireland Conflict from the Linen Hall Library, Belfast. Belfast : Linen Hall Library, 2001.

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Britain, Great. Health and personal social services : The Northern Ireland Ambulance Service Health and Social Services Trust (Establishment) Order (Northern Ireland) 1995. Belfast : HMSO, 1995.

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Britain, Great. Health and Personal Social Services : The Northern Ireland Blood Transfusion Service (Special Agency) (Establishment and Constitution) Order (Northern Ireland) 1994. Belfast : HMSO, 1994.

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Britain, Great. Health and personal social services : The Health and Medicines (Northern Ireland) Order 1988 (Superannuation) (Savings for Retired Practitioners) Regulations (Northern Ireland) 1990. [Belfast] : HMSO, 1990.

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Britain, Great. Health and personal social services : The Belfast City Hospital Health and Social Services Trust (Establishment) Order (Northern Ireland) 1992. Belfast : HMSO, 1992.

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Britain, Great. Health and personal social services : Dental Charges Regulations (Northern Ireland) 1988. [Belfast] : HMSO, 1988.

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Chapitres de livres sur le sujet "Arts – Northern Ireland – Belfast"

Little, Adrian. « Explaining the Belfast Agreement ». Dans Democracy and Northern Ireland, 9–32. London : Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230511668_2.

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Hennessey, Thomas. « Negotiating the Belfast Agreement ». Dans The Northern Ireland Question, 38–56. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_3.

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Farrington, Christopher. « Unionism and the Belfast Agreement ». Dans The Northern Ireland Question, 131–46. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_7.

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Bew, Paul. « The Triumph of the Belfast Agreement ». Dans The Northern Ireland Question, 238–45. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_13.

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Kennedy, Dennis. « The Case against the Belfast Agreement ». Dans The Northern Ireland Question, 246–64. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_14.

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McGrattan, Cillian. « Northern Nationalism and the Belfast Agreement ». Dans The Northern Ireland Question, 147–64. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_8.

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Baillie, Sandra M. « Women and Evangelicals in Northern Ireland ». Dans Evangelical Women in Belfast, 3–13. London : Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403914064_2.

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O’Donnell, Catherine. « The Belfast Agreement and Southern Irish Politics ». Dans The Northern Ireland Question, 205–21. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_11.

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Barton, Brian. « The Historical Background to the Belfast Agreement ». Dans The Northern Ireland Question, 12–37. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_2.

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Elliott, Sydney. « The Electoral Dynamics of the Belfast Agreement ». Dans The Northern Ireland Question, 105–30. London : Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230594807_6.

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Actes de conférences sur le sujet "Arts – Northern Ireland – Belfast"

Shobeiri, Sanaz. « Age-Gender Inclusiveness in City Centres – A comparative study of Tehran and Belfast ». Dans SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.xwng8060.

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Extended Abstract and [has] the potential to stimulate local and regional economies” (p.3). A city centre or town centre has been recognised as the beating heart and public legacy of an urban fabric either in a small town, medium-sized city, metropolis or megalopolis. Within this spectrum of scales, city centres’ scopes significantly vary in the global context while considering the physical as well as the intangible and the spiritual features. Concerns such as the overall dimensions, skyline, density and compactness, variety of functions and their distribution, comfort, safety, accessibility, resilience, inclusiveness, vibrancy and conviviality, and the dialectics of modernity and traditionalism are only some examples that elucidate the existing complexities of city centres in a city of any scale (overall dimension) (for further details see for instance Behzadfar, 2007; Gehl, 20210; Gehl and Svarre, 2013; Hambleton, 2015; Lacey et al., 2013; Madanipour, 2010; Roberts, 2013). Regardless of the issue of the context, Gehl (2010) define city centres as interconnected with new concepts such as “better city space, more city life” and “lively and attractive hub for the inhabitants” (pp. 13–15). Roberts (2006) explains the notion of a city centre or town centre as a space “in which human interaction and therefore creativity could flourish”. According to her, the point can realise by creating or revitalising 24-hour city policies that can omit the “‘lagerlout’ phenomenon, whereby drunken youths dominated largely empty town centres after dark” (pp. 333–334). De Certeau (1984) explains that a city and subsequently a city centre is where “the ordinary man, a common hero [is] a ubiquitous character, walking in countless thousands on the streets” (p. V). Paumier (2004) depicts a city centre particularly a successful and a vibrant one as “the focus of business, culture, entertainment … to seek and discover… to see and be seen, to meet, learn and enjoy [which] facilitates a wonderful human chemistry … for entertainment and tourism These few examples represent a wide range of physical, mental and spiritual concerns that need to be applied in the current and future design and planning of city centres. The term ‘concern’, here, refers to the opportunities and potentials as well as the problems and challenges. On the one hand, we —the academics and professionals in the fields associated with urbanism— are dealing with theoretical works and planning documents such as short-to-long term masterplans, development plans and agendas. On the other hand, we are facing complicated tangible issues such as financial matters of economic growth or crisis, tourism, and adding or removing business districts/sections. Beyond all ‘on-paper’ or ‘on-desk’ schemes and economic status, a city centre is experienced and explored by many citizens and tourists on an everyday basis. This research aims to understand the city centre from the eyes of an ordinary user —or as explained by De Certeau (1984), from the visions of a “common hero”. In a comparative study and considering the scale indicator, the size of one city centre might even exceed the whole size of another city. However, within all these varieties and differences, some principal functions perform as the in-common formative core of city centres worldwide. This investigation has selected eight similar categories of these functions to simultaneously investigate two different case study cities of Tehran and Belfast. This mainly includes: 1) an identity-based historical element; 2) shopping; 3) religious buildings; 4) residential area; 5) network of squares and streets; 6) connection with natural structures; 7) administrative and official Buildings; and 8) recreational and non-reactional retail units. This would thus elaborate on if/how the dissimilarities of contexts manifest themselves in similarities and differences of in-common functions in the current city centres. With a focus on the age-gender indicator, this investigation studies the sociocultural aspect of inclusiveness and how it could be reflected in future design and planning programmes of the case study cities. In short, the aim is to explore the design and planning guidelines and strategies —both identical and divergent— for Tehran and Belfast to move towards sociocultural inclusiveness and sustainability. In this research, due to the COVID-19 Pandemic, the studies of the current situation of inclusiveness in Belfast city centre have remained as incomplete. Thus, this presentation would like to perform either as an opening of a platform for potential investigations about Belfast case study city or as an invitation for future collaborations with the researcher for comparative studies about age-gender inclusiveness in city centres worldwide. In short, this research tries to investigate the current situation by identifying unrecognised opportunities and how they can be applied in future short-to-long plans as well as by appreciating the neglected problems and proposing design-planning solutions to achieve age-gender inclusiveness. The applied methodology mainly includes the direct appraisal within a 1-year timespan of September 2019 – September 2020 to cover all seasonal and festive effects. Later, however, in order to consider the role of the COVID-19 Pandemic, the direct appraisal was extended until January 2021. The complementary method to the direct appraisal is the photography to fast freeze the moments of the ordinary scenes of the life of the case study city centres (John Paul and Caponigro Arts, 2014; Langmann and Pick, 2018). The simultaneous study of the captured images would thus contribute to better analyse the age-gender inclusiveness in the non-interfered status of Tehran and Belfast. Acknowledgement This investigation is based on the researcher’s finding through ongoing two-year postdoctoral research (2019 – 2021) as a part of the Government Authorised Exchange Scheme between Fulmen Engineering Company in Tehran, Iran and Queen’s University Belfast, Northern Ireland. The postdoctoral research title is “The role of age and gender in designing inclusive city centres – A comparative study of different-scale cities: Tehran and Belfast” in School of Natural and Built Environment of the Queen’s University of Belfast and is advised by Dr Neil Galway in the Department of Planning. This works is financially supported by Fulmen Company as a sabbatical scheme for eligible company’s senior-level staff. Keywords: Age-gender, Inclusiveness, Sociocultural, City Centre, Urban Heritage, Tehran, Belfast

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Scott, Mark J., James M. Cooper, Tim Ryley et Austin W. Smyth. « Achieving Convergence in Land Use, Regeneration and Transport Policy, Belfast, Northern Ireland ». Dans International Conference on Traffic and Transportation Studies (ICTTS) 2002. Reston, VA : American Society of Civil Engineers, 2002. http://dx.doi.org/10.1061/40630(255)20.

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McAleer, SF, et CG Owens. « 41 Cardiogenic shock outcomes following primary percutaneous coronary intervention : an audit of the service at the royal victoria hospital belfast ». Dans Irish Cardiac Society Annual Scientific Meeting & AGM, Thursday October 5th – Saturday October 7th 2017, Millennium Forum, Derry∼Londonderry, Northern Ireland. BMJ Publishing Group Ltd and British Cardiovascular Society, 2017. http://dx.doi.org/10.1136/heartjnl-2017-ics17.41.

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Linden, K., L. Swales, S. Davenport, J. Collins, M. Carleton, G. McKeeman, P. Shortt et N. Johnston. « 26 Use of a one hour high sensitivity troponin t measurement in the initial assessment of patients presenting with cardiac chest pain to emergency departments in the belfast trust ». Dans Irish Cardiac Society Annual Scientific Meeting & AGM, Thursday October 5th – Saturday October 7th 2017, Millennium Forum, Derry∼Londonderry, Northern Ireland. BMJ Publishing Group Ltd and British Cardiovascular Society, 2017. http://dx.doi.org/10.1136/heartjnl-2017-ics17.26.

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Rapports d'organisations sur le sujet "Arts – Northern Ireland – Belfast"

Adlakha, Deepi, Jane Clarke, Perla Mansour et Mark Tully. Walk-along and cycle-along : Assessing the benefits of the Connswater Community Greenway in Belfast, UK. Property Research Trust, 2021. http://dx.doi.org/10.52915/ghcj1777.

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Physical inactivity is a risk factor for numerous chronic diseases, and a mounting global health problem. It is likely that the outdoor physical environment, together with social environmental factors, has a tendency to either promote or discourage physical activity, not least in cities and other urban areas. However, the evidence base on this is sparse, making it hard to identify the best policy interventions to make, at the local or city level. This study seeks to assess the impact of one such intervention, the Connswater Community Greenway CCG), in Belfast, in Northern Ireland, UK. To do that it uses innovative methodologies, ‘Walk-along’ and ‘Cycle-along’ that involve wearable sensors and video footages, to improve our understanding of the impact of the CCG on local residents. The findings suggest that four characteristics of the CCG affect people’s activity and the benefits that the CCG created. These are physical factors, social factors, policy factors and individual factors. Each of these has many elements, with different impacts on different people using the greenway.

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