This book takes two of the most influential minority groups of white settlers in the British Empire—the Irish and the Scots—and explores how they imagined themselves within the landscapes of its farthest reaches, the Australian colonies of Victoria and New South Wales. Using letters and diaries as well as records of collective activities such as committee meetings, parades and dinners, it examines how the Irish and Scots built new identities as settlers in the unknown spaces of Empire. Utilizing critical geographical theories of ‘place’ as the site of memory and agency, the book considers how Irish and Scots settlers grounded their sense of belonging in the imagined landscapes of south-east Australia. Emphasizing the complexity of colonial identity formation and the ways in which this was spatially constructed, it challenges conventional understandings of the Irish and Scottish presence in Australia. The opening chapters locate the book's themes and perspectives within a survey of the existing historical and geographical literature on empire and diaspora. These pay particular attention to the ‘new’ imperial history and to alternative transnational and ‘located’ understandings of diasporic consciousness. Subsequent chapters work within these frames and examine the constructions of place evinced by Irish and Scottish emigrants during the outward voyage and subsequent processes of pastoral and urban settlement, and in religious observance.
Civic identity and public space, focussing on Belfast, and bringing together the
work of a historian and two social scientists, offers a new perspective on the
sometimes lethal conflicts over parades, flags and other issues that continue to
disrupt political life in Northern Ireland. The first part of the book shows how
these disputes had their origins in the changes that took place during the
nineteenth century in the character of urban living, creating new forms of
public space whose regulation was from the start a matter of contention and
debate. Later chapters show how the establishment of a new Northern Ireland
state, with Belfast as its capital, saw unionism and Protestantism achieve a
near-complete monopoly of public space. In more recent decades, this monopoly
has broken down, partly as a result of political violence, but also through the
influence of new ideas of human rights and of a more positive vision of
political and cultural diversity. Today policy makers and politicians struggle
to devise a strategy for the management of public space in a divided city, while
endeavouring to promote a new sense of civic identity that will transcend
long-standing political and sectarian divisions.
The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.
Dominant visions have tended towards imagining Europe as an object - an entity of one sort or another. This book explores the different spaces of Europe/European Union (EU). The first part of the book presents research critically examining actor practices within familiar spaces of action - the European Parliament and the European Commission. It makes the case for the salience of research which distinguishes between spaces of 'frontstage' and 'backstage' politics and shows the interactions between the two. One cannot understand how EU gender mainstreaming policy really works unless one engages with the processes and actors involved. The second part presents research showing how, through their political work, a range of individuals and groups have sought to reconcile Europe with social representations of their industry or their nation to bring about change. It presents a case study of impact assessment of flatfish stocks in the North Sea, and contributes to the cross-fertilisation of Science and Technology Studies with a political sociology of the EU. The book shows how actors are pursuing regional interests, and the work they do in referencing Europe promotes agendas in the 'home' contexts of Scotland and canton Zurich. The final part of the book explores practices of EU government which either have been under-explored hitherto or are newly emerging. These are the knowledge work of a European consultant; measurement work to define and create a European education policy space; collective private action to give social meaning to sustainable Europe.
This book is an analysis of the complex links between social relations—including notions of class, nationality and gender—and spatial relations, landscape, architecture and topography—in post-colonial contexts. Arguing against the psychoanalytic focus of much current post-colonial theory, it aims to set out in a new direction, drawing on a wide range of literary and non-literary texts to develop a more materialist approach. The book foregrounds gender in this field where it has often been marginalised by the critical orthodoxies, demonstrating its importance not only in spatial theorising in general, but in the post-colonial theorising of space in particular. Concentrating on the period of ‘high’ British colonialism at the close of the nineteenth century, it examines a range of colonial contexts, such as India, Africa, America, Canada, Australia and Britain, illustrating how relations must be analysed for the way in which different colonial contexts define and constitute each other.
This book is a wide-ranging survey of the development of mass movements for democracy and workers’ rights in northern England. It surveys movements throughout the whole period, from the first working-class radical societies of the 1790s to trade unions in the 1830s and Chartists and Owenite socialists in the 1840s. It offers a provocative narrative of the privatisation of public space and workers’ dispossession from place, with parallels for contemporary debates about protests in public space and democracy and anti-globalisation movements. Space and place are central to the strategies and meaning of protest. The book examines the reaction by governments and local authorities, who sought to restrict public and private political meetings, demonstrations and marches. It charts the physical and symbolic conflicts over who had the right to speak and meet in northern England. The Peterloo Massacre of 1819 marked a particularly significant turning point in the relationship between government, local elites and the working classes. Radicals, organised labour and Chartists fought back by challenging their exclusion from public spaces, creating their own sites and eventually constructing their own buildings. They looked to new horizons, including America. This book also examines the relationship of protesters with place. Rural resistance, including enclosure riots, arson and machine-breaking during Luddism in 1812 and the Captain Swing agitation of the early 1830s, demonstrated communities’ defence of their landscape as a place of livelihood and customary rights.
Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.
Space, cinema, being
Space and being in contemporary French cinema
Space, cinema, being
Space, vast space, is the friend of being.
Space is to place as eternity is to time
Space in cinema
The great American film critic Manny Farber memorably declared
space to be the most dramatic stylistic entity in the visual arts – from
Giotto to Kenneth Noland, from Intolerance to Week-end (Farber 1998:
3). He posited three primary types of space in fiction cinema: the field
of the screen, the psychological space of the actor, and the area of
– and the construction of new buildings for the Public Record Office of Northern Ireland and Belfast Metropolitan College. More recently, in 2017, the magnificent, high-ceilinged drawing office in which Harland and Wolff vessels were once designed has reopened as the Titanic Hotel.
Limitations on access of cars to the city centre, a necessary security measure during the years of political violence, offered the possibility of a more pedestrianised city. The City Hall itself opened its grounds as a small area of welcoming space and a venue for
This book offers a new approach to engaging with the representation and aesthetics of provisional knowledge in Edmund Spenser’s writing via a focus on his use of spatial images. The study takes advantage of recent interdisciplinary interests in the spatial qualities of early modern thought and culture, and considers literature concerning the art of cosmography and navigation alongside imaginative literature in order to identify shared modes and preoccupations. The book looks to the work of cultural and historical geographers in order to gauge the roles that aesthetic subjectivity and the imagination play in the development of geographical knowledge – contexts ultimately employed by the study to achieve a better understanding of the place of Ireland in Spenser’s writing. The study also engages with recent ecocritical approaches to literary environments, such as coastlines, wetlands, and islands, in order to frame fresh readings of Spenser’s handling of mixed genres.