This thesis traces the migration of Irish Presbyterian clerics to the Thirteen Colonies and the United States over the course of the years 1683 to 1901. Further, it demonstrates that this clerical migration can be used in conjunction with what is already known about Irish Presbyterian migration to America in the eighteenth century to sketch the general shape and parameters of general Irish Presbyterian migration to the United States in the nineteenth century—something which seemed a near impossibility due to factors such as an absence of useable demographic data. In so doing, it posits a solution to a problem that has bedeviled specialists in Irish-American immigration for thirty years: how to find and study Irish Protestant immigrants in the nineteenth century in a way which gives some idea of the overall shape and frequency of the phenomenon. The following thesis is interdisciplinary and broad in the techniques employed, questions asked, and the literature it has consulted, incorporating much developed by historians of religion, ethnicity, culture, Colonial America, the United States, the Atlantic world, Ireland, and Britain in this study of emigration from Ireland and immigration to America. / Thesis (Ph.D, History) -- Queen's University, 2012-10-31 16:08:27.855

Thesis (Ph.D.) - University of Glasgow, 2006. / Ph.D. thesis submitted to the Faculty of Law, Business and Social Sciences, Department of Geographical and Earth Sciences, Faculty of Art, Department of Theology and Religious Studies, University of Glasgow, 2006. Includes bibliographical references. Print version also available.

As Englands first colony, Irelands experience is of great significance to wider colonial studies. Similarities exist between settler societies such as Australia, Canada and Ireland in terms of economic structures and demographic tensions; however the colonial experience of Ireland is unique as it was Englands first colonial enterprise and therefore something of an ongoing experiment, and also because of its proximity to the home island. Nowhere else was Englands appropriation of overseas territory followed by an attempt to amalgamate it into domestic lands.</p><p>This thesis discusses aspects of colonialism, political-religious dissent and education in Belfast in the immediate post-Union period (1801-1814). The commentary is couched in a study of The Belfast Monthly Magazine, a small publication that ran from 1808-1814 which provides a contemporary account of Belfast reformers who had witnessed the period of rebellion and union and continued to promote real whig principles in its aftermath. William Drennan (1754-1820) undertook the publishing venture jointly with John Templeton (1766-1825) and John Hancock (1762-1823). Drennan was a co-founder of the United Irishmen, Templeton was a well-known botanist and former United Irishman, and Hancock was a linen merchant and former member of the Society of Friends. The Proprietors, as they referred to themselves in their publication, reported on continental politics and their observations on the ongoing Napoleonic wars were largely informed by their experiences of civil unrest over the previous three decades.</p>

As Englands first colony, Irelands experience is of great significance to wider colonial studies. Similarities exist between settler societies such as Australia, Canada and Ireland in terms of economic structures and demographic tensions; however the colonial experience of Ireland is unique as it was Englands first colonial enterprise and therefore something of an ongoing experiment, and also because of its proximity to the home island. Nowhere else was Englands appropriation of overseas territory followed by an attempt to amalgamate it into domestic lands.</p><p>This thesis discusses aspects of colonialism, political-religious dissent and education in Belfast in the immediate post-Union period (1801-1814). The commentary is couched in a study of The Belfast Monthly Magazine, a small publication that ran from 1808-1814 which provides a contemporary account of Belfast reformers who had witnessed the period of rebellion and union and continued to promote real whig principles in its aftermath. William Drennan (1754-1820) undertook the publishing venture jointly with John Templeton (1766-1825) and John Hancock (1762-1823). Drennan was a co-founder of the United Irishmen, Templeton was a well-known botanist and former United Irishman, and Hancock was a linen merchant and former member of the Society of Friends. The Proprietors, as they referred to themselves in their publication, reported on continental politics and their observations on the ongoing Napoleonic wars were largely informed by their experiences of civil unrest over the previous three decades.</p>

No description available.

Bauhaus-Univ., Masterarb., 2008--Weimar.

The dissertation argues that Ulster Catholic laity inhabited a social and cultural "frontier" through the early modern period. This mentality shaped how Ulster Catholics perceived and conceived their place and community in the rapidly changing religious, socio-economic and political situation in early modern Ulster (c.1680-1830). Though sectarian attitudes and violence are viewed as inherent in Ulster and Irish history generally, this dissertation explores the social and cultural connections between Ulster Catholics and Anglo-Scot Protestant settlers, and the social and cultural world of Ulster Catholics and Catholic converts. By examining several locales and specific Catholic families in the province, a nuanced portrait of interdenominational relationships and Catholic culture and society is forwarded. Additionally, the concerns of daily life and social connections are explored to register the amount of adaptation or resistance to the changing socio-economic and political conditions in Ulster. Moreover, the attempted Tridentine reforms of Ulster Catholic practice by the Catholic upper clergy during the seventeenth and eighteenth centuries was another "frontier" that was alternately adapted and resisted by the Ulster Catholic laity. Analysis of Catholic diocesan letters, Gaelic poetry and songs, family and estate papers, official state papers, and other contemporary works demonstrates the complexities of local interdenominational relationships and the diverse constructions of a "Catholic community" early modern Ulster.

No description available.

This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.

This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.