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New generation Northern Irish poets (Sinéad Morrissey and Nick Laird)
Michael Parker

9780719075636_4_010.qxd 16/2/09 9:26 AM Page 177 10 Neither here nor there: new generation Northern Irish poets (Sinéad Morrissey and Nick Laird)1 Michael Parker ‘Skies change, not cares for those who cross the sea’2 Confirmation that a new generation of talented poets is beginning to re-shape the face of Irish and Northern Irish literature can be found in two recent anthologies: Selima Guinness’s The New Irish Poets (2004) and John Brown’s Magnetic North: The Emerging Poets (2005).3 Amongst the defining characteristics of the new poetry, according to

in Irish literature since 1990
Class polarisation and neo-liberalism in the Irish Republic
Kieran Allen

3 Neither Boston nor Berlin: class polarisation and neo-liberalism in the Irish Republic KIERAN ALLEN The Celtic Tiger is dead. Between 1994 and 2000, real gross domestic product (GDP) in the Republic of Ireland grew at an annual average rate of nine per cent, taking per capita income from sixty-seven to eightysix per cent of the European Union (EU) average by 1999.1 In terms of conventional economics, this would seem to constitute a miracle. Growth rates for most industrial nations were sluggish in the 1990s and even the boom in the United States did not match

in The end of Irish history?
Mark Webber

will overwhelm Europe. 49 It is also argued that Turkey’s security-promoting assets have largely been oversold. Turkey carries little weight among its Arab neighbours (given its Ottoman history and secular politics) and the record since the 1990s suggests that the country has neither the material resources nor the sense of political and economic attraction to sustain any influence in the South

in Inclusion, exclusion and the governance of European Security
Church and state reimagined
Robert G. Ingram

Chapter 15 Neither a slave nor a tyrant: Church and state reimagined I n May 1736, The Old Whig, a London newspaper committed to the Dissenting interest, carried a piece by ‘Atticus’ criticizing William Warburton’s recent Alliance between Church and State. Warburton had defended the Church of England’s legal establishment ‘from the Essence and End of Civil Society, upon the Fundamental Principles of the Law of Nature and Nations’.1 Atticus, though, complained that the Alliance’s defence of religious establishments ‘does not even make Pretension to Truth’.2 A

in Reformation without end
Antony and Cleopatra and visual musical experience
Simon Smith

9 ‘I see no instruments, nor hands that play’: Antony and Cleopatra and visual musical experience Simon Smith In 1599, composer Richard Alison prefaced a book of four-part psalm settings with a particularly memorable sales pitch. Like the 1563 psalter frontispiece explored in our volume’s introduction (Figure 1), Alison’s dedicatory address imagines an ideal performance of psalms set to music. He foregrounds the breadth of sensory stimuli offered by such a performance as a clinching argument for the devotional and, of course, economic worth of his volume: And

in The senses in early modern England, 1558–1660
Fletcher's Roman plays as trauerspeile
Domenico Lovascio

, to choose one Out of a virtuous stock, though of poor parents, And make him noble. 13 Diocles has indeed been chosen as the new emperor despite his ‘being the son of a tanner’, that is, ‘a man most miserable, / Of no rank, nor no badge of honour on him, / Bred low and poor, no eye of favour shining’ (1.3.20, 1.2.17–19), but not so much because of his merits as for

in John Fletcher’s Rome
Griselda Pollock

upending the canvas and making us see twoness, eyes and breasts, the figure was also maternalized at one level, as adult sexual woman. Its affect arises from the fact it was neither drawn nor painted with violent energy. As non-image, this sense of a mature woman was nudged into visibility only by the central area of the canvas remaining hardly touched. The nude that words tempt us to see becomes a female form through what is shaped by the inner edges of abstract areas of poured, applied and brushed paint around the cropped edges

in Killing Men & Dying Women
Material culture approaches to exploring humanitarian exchanges
Amanda B. Moniz

Historians have long studied the political, economic, intellectual and emotional dimensions of colonial and early-national Americans’ engagement with foreign peoples through philanthropy, but have focused less on the material culture of these exchanges. By contrast, the managers of eighteenth- and nineteenth-century charities paid a great deal of attention to the things they needed to operate their institutions. They regularly discussed beds and beddings, medical supplies, books, garments and much more. Focusing on these objects tells stories both about the expansive international trade networks that helped supply charitable institutions and about the limits of managers’ power to shape the lives of their putative beneficiaries, as the managers of New York Hospital discovered. In the early 1800s, the managers, influenced by the latest European practice, imported up-to-date hygienic iron bedsteads and new bedding from Britain. The port city hospital served a heterogeneous population including many foreign immigrants, African Americans, and sojourning mariners, and its patient population lent credence to the managers’ proclaimed intention of providing ‘Charity to All’. Conflicts between doctors and nurses over the cleanliness of beds and bedding in African American wards, however, reveal the lack of control managers and doctors had over patients’ lives on a day-to-day basis.

in Humanitarianism, empire and transnationalism, 1760–1995
Uses and Misuses of International Humanitarian Law and Humanitarian Principles
Rony Brauman

with IHL, then? No, because it helps humanitarian organisations create negotiation space with governments – the ones that accept the principle, of course, and not all do, although many agree to it. Humanitarian organisations can use those governments’ commitments to IHL to support their requests for authorisation to act and to bolster their status as legitimate actors in conflicts. Neither a moral code to be brandished nor a relic to be dismissed, IHL helps humanitarian

Journal of Humanitarian Affairs
Adaptation, Dürrenmatt, and The Pledge
Gary Bettinson

In Sean Penn‘s crime thriller The Pledge (2000), a crucial stage of story action is determined by a purely chance event. Neither prefigured by narrative signposting nor sutured into the films system of causation, the chance event both mystifies the fictive agents and distresses audience expectation. This essay explores the issues at stake in the films reliance on chance action, arguing that its usage represents a significant risk on the part of the dramaturgist. Moreover, the essay examines the alterations that the film makes in Friedrich Dürrenmatts source novel, and considers the ways in which these alterations radically transform the effects created by the story‘s chance event.

Film Studies