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This thesis examines the social and political activism of the Belfast labour movement though one of its leaders, William Walker (1870 - 1918). It reassesses his place in Irish historiography which often dismissed him despite his acknowledged prominence in early twentieth century Ireland. The thesis argues that Walker has been narrowly defined as a political activist and makes the case for broadening the understanding of him through his social activism. [...]. The thesis conclused by arguing that Walker deserves greater recogniition for his courage, sense of dury and commitment to improving working-class conditions.

The following research addresses the process of design innovation and diffusion within the British cotton industry between 1945-1959. This study broadly concerns the relationship between art and design and its influence on the design process in relation to the British cotton industry. It covers the period from the 1940's when, the first generation of American Abstract Expressionists came of age, until the second half of the 1950's, when patterns showing stylistic and technical elements derived from this group of artists started to be produced by British companies. The analysis of this specific relationship provides this study with both a chronological framework and the opportunity to examine the relationship between the development of artistic movements and their reception, or lack of it, within commercially orientated bodies. The purpose of this thesis is to provide a study of the design process and the influence of market structures upon design strategies adopted by individual textile companies. This work is based on the study of the British cotton industry, the debate relating to art and design education during the period under examination. It includes the detailed comparative examination of the records of three British textile firms Heal's Wholesale & Export Ltd., the SUbsidiary of Heal's & Son founded in 1941, which became Heal Fabrics in 1958; Arthur Sanderson & Sons Ltd., which added the production of textiles to its wallpaper business after the First Wortd War, and Armitage & Rigby Ltd., a Lancashire based company of cotton spinners and manufacturers, established in 1841. The study of American Abstract Expressionism, its theoretical stand, and the critical and art historical writing on this artistic movement are examined to provide a basis upon which to compare the artwork with the 'contemporary' designs produced during the 1950's. Finally, the examination of a number of 'contemporary' designs provides evidence of the process and implications of the commercial adoption of Abstract Expressionism. This study attempts to demonstrate the relevance of material factors in the adoption of design policies by British textile firms. In particular, it suggests that the structure of the British textile industry, specifically the merchantketailer role in commissioning designs, was determinant in the taking up of the Abstract Expressionist style in textile design.

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