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If walls could talk

Northern Ireland is regarded as one of the most successful 'post conflict' societies in the world. The reimaging of Belfast as a 'post conflict' city tends to gloss over these persistent divisions. This book provides a thought provoking and comprehensive account of teenagers' perceptions and experiences of the physical and symbolic divisions that exist in 'post conflict' Belfast. Despite Northern Ireland's new status as one of the most successful examples of the resolution of what was once seen as an intractable conflict, the peace walls which separate Protestant and Catholic areas remain in place. The book examines the micro-geographies of young people and draws attention to the social practices, discourses and networks that directly or indirectly (re)shape how they make sense of and negotiate life in Belfast. It focuses is on the physical landscape enclosing interface areas and the impact that it has on the perceptions and actions of young people living in these areas. The book explores how physical divisions are perceived and experienced by young people who live in interface areas and how they view the architecture of division. It pays attention to the impact of place on teenagers' social relations within and between the localities in which they reside. The city centre of Belfast epitomises the city's status as a 'post conflict' city. A recurring argument is that identity does not exist 'out there'. The book shows how social relationships are inherently spatial and how identities are influenced by place and impact on it.

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Sean Nixon

themselves advertising and the associated devices of the consumer economy cannot – and historically did not – create an equalization of the standard of living across British society and the wider ‘commercial Atlantic’. In a society like Britain there remained substantial inequalities of income and access to resources which consumer society in the 1950s and 1960s did little to change. Rising levels of consumption associated with the inclusion of the mass of the population in consumer markets in the era of affluence also contained its own logics of symbolic division and

in Hard sell
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Madeleine Leonard

establishment of a power-sharing political framework. The overall purpose of this book is to explore these contradictions by presenting young people’s perceptions and experiences of the physical and symbolic divisions that exist in ‘post conflict’ Belfast and the ways in which they (re)produce, negotiate or challenge them in their everyday lives. The book examines the micro-geographies of young people and draws

in Teens and territory in ‘post-conflict’ Belfast
Giuseppe Finaldi

found in an Amharic publication, was as good as any (although it may not have been wholly appreciated by Mussolini). Ethiopia’s eyes were sick She believed in Emmanuel’s light And received sight. Emmanuel’s Ark is in Rome, Duce Mussolini is her chief priest.32 A poem to the Italian Flag summed up the symbolic division of power between king and Duce – surely to the satisfaction of the Fascist editors of Luce di Roma. Mussolini would have chuckled at his primacy in this instance: Italian flag your place is high above: Emmanuel on your left, Duce on your right

in The cult of the Duce
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Susanne Becker

symbolic division of his house into the forbidden, sexual sphere – Bertha’s attic – and the proper, public realm – jane’s drawing room. That neither of the women in Thornfield is allowed to inhabit the whole house is another sign of male control; both female figures continually exceed the boundaries of that forcible separation, into each other’s realms. In Jane Eyre , the

in Gothic Forms of Feminine Fictions
Wilkie Collins’s After Dark and Dalziel’s freelance engravers
Bethan Stevens

. As we saw in Chapter 3 , this is a symbolic division: engraving hands are divided from a creative brain; the woman’s fighting hands cut away from her political beliefs. Lower down, another division of the woodblock separates the hands of the revolutionary from the weapon she wielded, the surrendered gun at her feet. For the working engraver, the

in The wood engravers’ self-portrait
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Tradition and taboo
Guy Austin

and darkness which opposes men and women, outside and inside, future and past: ‘le Haut, le Futur, le Jour, le Masculin [. . .] s’oppose[nt . . .] au Bas, au Passé, à la Nuit, au Féminin’ [the High, the Future, the Day, the Masculine are contrasted with the Low, the Past, the Night, the Feminine] (Bourdieu 1972 : 57). At least four separate scenes reinforce these symbolic divisions by placing the masculine and the feminine

in Algerian national cinema
Niilo Kauppi

Weber's term (Weber 1922, 541). It imposes fundamental principles of classification - sex, age, competence, and so on, on everybody (Bourdieu 1997b, 209). Its influence is everywhere. In the 36 Democracy, social resources and political power in the European Union family, it controls the rites of institution; in the schooling system, it creates divisions between the chosen and the rejected. These are durable, often definitive symbolic divisions that are universally recognised and that often have determining effects on the future of individuals. The individual

in Democracy, social resources and political power in the European Union