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Orangewomen in Canada, c. 1890–1930
D. A. J. MacPherson

turbulence in Ireland following the establishment of the Free State. During the interwar period, Orangewomen in Canada came from a diverse set of backgrounds, encompassing both recent migrants from Ireland, Scotland, England and elsewhere in the British world with those who were from more long-standing Canadian families. While a Scottish identity and an interest in Canadian politics came to the fore in the LOBA during the 1920s, this chapter argues that an Irish Protestant ethnicity remained central to these women’s sense of identity. These Orangewomen embraced the

in Women and Irish diaspora identities
The role of country of origin
Brendan D. Kelly

services. In particular, increased emphasis on the cultural competence of healthcare providers would be a good first step in recognising and addressing the differing health needs and practices of individuals from different ethnic groups and cultural backgrounds. DONNELLY 9780719099465 PRINT.indd 203 12/10/2015 15:59 204 Oversight of decision-­making References Amaddeo, F., Becker, T., Fioritti, A., Burti, L. and Tansella, M. (2007) ‘Reforms in community care: the balance between hospital and community-­based mental health care’, in M. Knapp, D. McDaid, E. Mossialos

in Ethical and legal debates in Irish healthcare
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Debating Tudor policy in Ireland: The ‘reform’ treatises
David Heffernan

one of the sewers of the king’s chamber, Edmund Sexton, composed a number of tracts in the 1530s, the notorious archbishop of Cashel, Miler McGrath, wrote several treatises in the 1590s, while Francis Shane, an anglicised O’Farrell, prepared papers on military strategy during the Nine Years War.16 Other than these there are a handful of Gaelic Irish writers, notably Cormac MacBrian O’Connor and Turlough O’Brien.17 This, broadly speaking, was how the authorship of the ‘reform’ treatises broke down along ethnic lines. A more complicated issue is the station of the

in Debating Tudor policy in sixteenth-century Ireland
The scholarly achievements of Sir James Ware
Mark Empey

different ethnic and cultural backgrounds, which might in other circumstances prove to be insuperable obstacles to friendship and trust, it is clear that these could be overcome by their mutual devotion to the course of preserving Ireland’s rich medieval heritage. Whatever might be said about the divisive nature of Irish society in the seventeenth century, Ware’s extensive network suggests that such divisions were by no means impermeable. The passion Ware demonstrated in his scholarly endeavours interlinks with the second important observation about his book

in Dublin
Tanja Bueltmann and Donald M. MacRaild

certainty that the English were pervasive, both in reality and in collective memory. Set within this wider context, this chapter provides historical background to the aspects of English settlement in the Americas that we examine in this book,17 focusing on migratory streams from the eighteenth century onwards. While we recognize the importance of earlier imperial endeavours, this time-frame is the most suitable for our work given that ethnic associations first developed in the eighteenth century, partly in unison with early urbanization patterns in North America, to which

in The English diaspora in North America
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Abstract only
Brigitte Rollet

-dominated genre such as the heritage film is now accessible to female directors. More important perhaps is the emergence of filmmakers coming from outside the traditional film circles, whose social and ethnic background contrast with their elders’. Thus, the release in 1995 of the first film made by the beurette Zaïda Ghorab-Volta, 5 Souviens-toi de moi, brought a much needed feminine element to what is now called ‘beur cinema’ and in which the absence of female protagonists was, until recently, a recurrent feature. The success of Y

in Coline Serreau
Dominic Bryan, S. J. Connolly and John Nagle

’. 12 Yet, the expression ‘divided city’ risks naturalising in an ahistorical way the shifting ethno-national cleavages and forms of political mobilisation that have occurred in the city. The concept of the ‘divided city’, therefore, generates a picture in which competing ethnic identities appear frozen, locked in unending antagonistic conflict. Through uncritically deploying the concept of the divided city there is a danger of lapsing into what Rogers Brubaker has called ‘groupism’: ‘to take discrete, sharply differentiated, internally

in Civic identity and public space
Lee Jarvis and Michael Lister

one participant put it, ‘government drives the way security categorises people’ (Oxford, Asian, Female). The view that powers such as stop and search were targeted at ethnic minorities was not, of course, universally shared by all minority populations with whom we spoke. Some of our participants, including non-Muslim individuals from South Asian backgrounds, expressed

in Anti-terrorism, citizenship and security
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Policing the end of empire
David Killingray and David M. Anderson

(Stockwell, chapter 6 ) especially, the origins and ethnic backgrounds of serving policemen came to determine the effectiveness with which they were able to carry out their duties, and set limits upon their reliability as agents of colonial control. Whether supervising traffic or controlling crowds at a political rally, once nationalist politics were in the air life for every locally-recruited colonial

in Policing and decolonisation