The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging. / A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.

The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging. / A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.

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Cette recherche questionne le rôle des politiques urbaines dans la gestion des conflits. Belfast est une ville au passé industriel : comme dans d’autres métropoles européennes, les espaces dévitalisés sont reconvertis. Or, l’espace urbain reste fortement marqué par un conflit communautaire territorialisé entre catholiques et protestants. Les élus nord-irlandais et les aménageurs proposent donc des solutions urbanistiques pour normaliser Belfast, dans une optique post-industrielle mais également post-conflictuelle. Les espaces vacants permettent à la fois la mise en place de grands projets de régénération urbaine tout en encourageant la promotion d’espaces neutres qui échappent à l’appropriation communautaire. Il convient donc d’interroger la capacité de l’espace urbain à créer du lien social afin de promouvoir une urbanité fédératrice au sein d’une ville divisée. / This research interrogates the role of urban policies in conflicts management. Belfast has an industrial past : as in other European cities, derelict spaces are being regenerated. Yet, the territorialised conflict between Catholic and Protestant communities continues to strongly mark the urban space. The Northern-Irish leaders and urban planners then offer urbanistic solutions to normalise Belfast, in both a post-industrial and a post-conflict way. Vacant spaces allow large scale regeneration projects as far as the promotion of neutral spaces, which are not subject to community appropriation. It is thus needed to question the ability of urban spaces to create social link in order to promote a unifying urbanity in a divided city.

Texte remanié de: Th. Ph. D.--Irish history--Queen's University Belfast, 1997. / Bibliogr. p. 213-218. Index.

Thesis advisor: Robert J. Savage / This dissertation compares that state-sponsored tactic of criminalization implemented against both the Black community of Brixton and the republican community of Belfast throughout the 1970s, arguing that both minority groups were criminalized in an attempt to end the ‘crisis of hegemony’ faced by the British government during the post-war decline of empire. While this process of criminalization was implemented via different legislative methods and with different ideologies, racial in Brixton and ethno-sectarian in Belfast, the government used these negative ideologies to create a specific narrative that supported the implementation of discriminatory policing policies against these marginalized groups. Both the Black and republican communities fought against this narrative of criminalization, instead highlighting parallel counter-narratives which contended that discriminatory governing and over-policing were negative symptoms of Britain’s enduring colonial legacy and a detriment to the minority populations of the United Kingdom. Tensions between the state-sponsored police and these marginalized communities exploded in 1981 with the uprising in Brixton and the hunger strike in Belfast. Members of both minority communities viewed these events as attempts to combat state discriminatory policies, but the British government viewed these violent events as proof of the criminality of these minority groups. Examining the creation and use of community murals in both Brixton and Belfast after 1981, this dissertation argues that murals became a less violent, but no less visible tool to combat the narrative of criminalization. As a type of artwork specifically designed for marginalized communities to challenge spatial and visual hegemony, community murals in these locations created large public canvases with which disenfranchised citizens could display their own visual representation – a representation to offset the negative imagery being portrayed by the British government and mainstream media. Minority groups in both Great Britain and Northern Ireland used these community artworks as subversive tools to positively display their marginalized cultures and their counter-narrative of discriminatory policies throughout the 1980s. While created via different artistic and collaborative methods, community murals in Brixton and Belfast became a tool used by both minority groups to combat the negative impacts of the shared criminalization that stemmed from a mutual colonial history. / Thesis (PhD) — Boston College, 2023. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

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Der nordirische Autor Glenn Patterson (geboren 1961) hat sich als Städteschrifsteller und zeitgenössischer Chronist seiner Heimatstadt Belfast einen Namen gemacht. In seinen Texten arbeitet er immer wieder die kaum greifbare Komplexität und unendliche Vielfalt Belfasts heraus. Die Arbeit zeigt auf, wie Patterson in den Romanen „Fat Lad“, „The International“, „Number 5“ und „That Which Was“ die Stadt dreidimensional konstruiert: auf einer räumlichen einer sozialen und einer geschichtlichen Ebene. Diese dreiteilige Ordnung strukturiert auch die Arbeit selbst und bezieht sich auf ein Raumverständnis, das innerhalb des „spatial turn“ theoretisiert wurde. Vornehmlich zitiert werden Edward W. Soja und Doreen Massey. Die beiden Geographen sehen Räumlichkeit, Geschichtlichkeit und Sozialität als eng miteinander verzahnt und gleichberechtigt und plädieren für eine Dekonstruktion binärer Gegensätze. Dieses interdependente Raumverständnis eignet sich sehr gut für eine Analyse von Pattersons Romanen. In ihnen stellt er Belfast in seiner facettenreichen Komplexität dar und betont die Wandelbarkeit der Stadt als ihr wichtigstes Charakteristikum. Dies erreicht er, indem er räumliche, geschichtliche und soziale Ebenen miteinander kombiniert und immer wieder binäre Gegensätze unterwandert. Damit nimmt der Schriftsteller eine besondere Rolle in der nordirischen Literatur ein, in der die sogenannten „Troubles“ immer noch sehr viel Aufmerksamkeit erhalten, und in der Belfast, als einer der Hauptschauplätze der „Troubles“, allzu oft als stagnierend, eindimensional und von zwei exklusiven Gemeinschaften dominiert beschrieben wird. Um Patterson in die literarische Tradition Nordirlands einzuordnen, gibt die Arbeit auch einen Überblick über die Geschichte des nordirischen Städteromans. Ferner analysiert sie drei Romane, die exemplarisch stehen für einige maßgebliche Entwicklungen in der Literatur des Landes und vergleicht ihre Darstellungen Belfasts mit denen in Pattersons Romanen. / The Northern Irish novelist Glenn Patterson (born 1961) has become known as an urban writer and contemporary chronicler of his hometown Belfast. In his texts he illustrates the intangible complexity and indefinite multiplicity of Belfast. The thesis shows how Patterson in his novels “Fat Lad”, “The International”, “Number 5” and “That Which Was” constructs the city threefold: spatially, socially and historically. This three-dimensional order also structures the thesis itself and refers to an understanding of space as theorized during the so called “spatial turn”. The thesis explicitly utilises concepts of Edward W. Soja and Doreen Massey. The two social geographers see the spatial, the temporal and the social as closely interdependent and argue for the deconstruction of binary oppositions. In the thesis this interdependent understanding of space forms the basis of an analysis of Patterson’s novels, showing how the writer represents Belfast in all its heterogeneous complexity and emphasises the city’s potential for change as its most important characteristic. He achieves this by combining spatial, temporal and social dimensions and by challenging existing binarisms. In doing so Patterson plays an important role in Northern Irish literature, which has been dominated by the “Troubles” and in which Belfast is often portrayed as stagnating, one-dimensional and inhabited by two exclusive communities. Placing Patterson within a literary tradition in Northern Ireland, the thesis gives an overview of the history of the Northern Irish urban novel. Furthermore, it analyses three novels that represent important developments in the literature of the country, and it compares the representations of Belfast in these novels with those in Patterson’s texts.

Grâce au Good Friday Agreement (GFA) signé en 1998, l’Irlande du Nord connait une période de pacification sans précédent depuis les Troubles (1969-1998). Dans cette situation de post conflit, la violence liée aux affrontements entre groupes paramilitaires et forces de sécurité britannique a très largement diminué. Cependant, de petits groupes paramilitaires républicains s’opposent toujours au traité de paix. Cette thèse a pour objectif comprendre pourquoi les paramilitaires républicains anti-GFA continuent d’utiliser la violence alors qu’ils reconnaissent que, dans le contexte actuel, la lutte armée a peu de chance de conduire à la réunification de l’Irlande. A Belfast, l’analyse spatiale des violences intracommunautaires (perpétuées dans le cadre d’un système de justice alternatif) et des attaques contre les forces de police montre que la stratégie des organisations paramilitaires anti-GFA repose sur la création d’un cycle d’agitation. Il s’agit d’une stratégie de développement locale qui vise à maintenir des territoires d’exception. Ce terme désigne ici des territoires où la normalisation voulue par le processus de paix est limitée par les actions des républicains anti-GFA et où le monopole de la violence légitime est disputé. Cependant, cette stratégie de contrôle du territoire communautaire se heurte à toute une série de problèmes. En effet, les organisations paramilitaires anti-GFA sont de petits groupes fragmentés qui tendent à se diviser dans le temps. Enfin, l’influence des paramilitaires anti-GFA est limitée par un contexte social extrêmement défavorable à la lutte armée, par les actions des forces de sécurité, et par la présence et la stratégie du Sinn Féin. / Thanks to the Good Friday Agreement (GFA) signed in 1998, Northern Ireland knows a period of pacification unknown since the Troubles (1969-1998). In this post-conflict situation, violence in the form of confrontation between paramilitary groups and British security forces has greatly decreased. Nevertheless, small republican paramilitary groups are still opposing the peace treaty. The goal of this dissertation is to understand why republican paramilitaries opposed to the GFA continue to rely on violence while recognizing that, in the current context, armed struggle has little chances of leading to the reunification of Ireland. In Belfast, spatial analysis of intracommunal violence (carried out within an alternative justice system) and attacks against the police indicate that the strategy of the paramilitary organizations opposed to the GFA relies on creating a cycle of unrest. This is a strategy of local development aiming at maintaining territories of exception. This concept here means territories where the normalization sought by the peace process is limited by anti-GFA republicans’ actions and where the monopole of legitimate violence is disputed. This strategy of communal territory control is however facing a series of problems. Anti-GFA paramilitary organisations are indeed small fragmented groups which often splinter overtime. Finally, anti-GFA paramilitary organizations’ influence is limited by a social context extremely unfavourable to armed struggle, by security forces, and by the presence and strategy of the Sinn Féin.

The goal of this dissertation is to discuss relationships between the sociocultural environment and nutritional status outcomes in an urban industrialized city with high rates of poverty. The purpose is to highlight the complex web of factors shaping nutritional status outcomes and move beyond cause and effect approaches to nutrition in an environment where obesity is a central nutritional concern. To accomplish this goal, I examine a range of factors that relate to adolescent nutritional practices and nutritional status outcomes in a sample population of adolescents living in Belfast, Northern Ireland. I discuss connections between social locations such as age, gender, geographic area, and socioeconomic status. I also highlight the range of nutritional status outcomes observed in the sample population, while examining broader social, political, and economic aspects of the lives of adolescents that differentially shape nutrition-related experiences in the city. Finally, I demonstrate that adolescents occupy a complex social location in which autonomy, advice, and influence from sociocultural and political-economic factors shape their diet and exercise practices and nutritional status outcomes in multi-faceted, and at times unexpected, ways. In doing so, I emphasize the benefits of a localized, rather than a globalized approach to nutritional concerns such as obesity.