Local Symbols, Global Networks: Rereading the Murals of Belfast
Identifieur interne : 000576 ( Main/Exploration ); précédent : 000575; suivant : 000577Local Symbols, Global Networks: Rereading the Murals of Belfast
Auteurs : Debbie Lisle [Royaume-Uni]Source :
- Alternatives (Amsterdam) [ 0304-3754 ] ; 2006.
Descripteurs français
- Wicri :
- topic : Tourisme.
English descriptors
- KwdEn :
- Aaron kelly, Alternative networks, Belfast, Belfast murals, Belfast telegraph, Belinda loftus, Bill rolston, Black taxi, Black taxi drivers, Black taxi tours, Claire regan, Community projects, Complex history, Complex struggles, Craig burnett, Cultural expression, Debbie, Debbie lisle, Diego rivera, Difficult question, Discursive networks, Gerry mccarthy, Global, Global capital, Global networks, Global scale, Government ministers, Graffiti, Graffiti subculture, Great britain, Historical images, Hunger strikers, Ideological expressions, Ideological framework, Ideological struggle, Jarman, John berger, Julian watson, King billy, Lisle, Local communities, Local community, Local symbols, Lower shankill estate, Loyalist, Loyalist artists, Loyalist community, Loyalist mural painters, Loyalist mural painting, Loyalist murals, Malcolm miles, Maze prison, Media representations, Mexican muralists, Mexican murals, Mural, Mural artists, Mural directory, Mural painters, Mural painting, Mural production, Mural program, Mural sites, Muralist, Murals change, Nicholas allen, Nicholas bourriaud, Nitb, Northern ireland, Northern ireland assembly, Other cities, Other hand, Other words, Painting murals, Paramilitary murals, Peace process, Peace wall, Political ideologies, Political murals, Political significance, Political tourism, Postrevolution government, Power relations, Professional painters, Radical politics, Relational aesthetics, Republican communities, Republican community, Republican muralist danny devenny, Republican murals, Rivera, Roland barthes, Rolston, Ruling elite, Sectarian, Sectarian conflict, Sectarian divisions, Sectarian messages, Sectarian politics, Sectarianism, Shankill, Shankill road, Simple conflict, Social problems, Social relations, Socialist ideals, Student painters, Symbolic content, Taxi tours, Third force, Tourism, Tourism inquiry, Tourist destination, Tourist industry, Urban graffiti, Urban landscape.
- Teeft :
- Aaron kelly, Alternative networks, Belfast, Belfast murals, Belfast telegraph, Belinda loftus, Bill rolston, Black taxi, Black taxi drivers, Black taxi tours, Claire regan, Community projects, Complex history, Complex struggles, Craig burnett, Cultural expression, Debbie, Debbie lisle, Diego rivera, Difficult question, Discursive networks, Gerry mccarthy, Global, Global capital, Global networks, Global scale, Government ministers, Graffiti, Graffiti subculture, Great britain, Historical images, Hunger strikers, Ideological expressions, Ideological framework, Ideological struggle, Jarman, John berger, Julian watson, King billy, Lisle, Local communities, Local community, Local symbols, Lower shankill estate, Loyalist, Loyalist artists, Loyalist community, Loyalist mural painters, Loyalist mural painting, Loyalist murals, Malcolm miles, Maze prison, Media representations, Mexican muralists, Mexican murals, Mural, Mural artists, Mural directory, Mural painters, Mural painting, Mural production, Mural program, Mural sites, Muralist, Murals change, Nicholas allen, Nicholas bourriaud, Nitb, Northern ireland, Northern ireland assembly, Other cities, Other hand, Other words, Painting murals, Paramilitary murals, Peace process, Peace wall, Political ideologies, Political murals, Political significance, Political tourism, Postrevolution government, Power relations, Professional painters, Radical politics, Relational aesthetics, Republican communities, Republican community, Republican muralist danny devenny, Republican murals, Rivera, Roland barthes, Rolston, Ruling elite, Sectarian, Sectarian conflict, Sectarian divisions, Sectarian messages, Sectarian politics, Sectarianism, Shankill, Shankill road, Simple conflict, Social problems, Social relations, Socialist ideals, Student painters, Symbolic content, Taxi tours, Third force, Tourism, Tourism inquiry, Tourist destination, Tourist industry, Urban graffiti, Urban landscape.
Abstract
Traditionally, the political murals of Belfast have been understood as expressions of either loyalist or republican communities, a reading that reduces the complex struggles of Northern Ireland into a simple conflict between two groups. This article rereads the murals through the specific context of the peace process, in which the “two communities” thesis is losing its relevance. It suggests that when the murals are understood through three, wider networks—production, signification, and reception—it is possible to see how they disrupt ongoing debates about public art, make explicit gestures to other international conflicts (such as the hunger strikers in Turkey), and encourage a new form of political tourism. Rereading the murals in this way reveals the multiple global networks that the city of Belfast is linked into, networks that are silenced by a traditional “two communities” framework.
Url:
DOI: 10.1177/030437540603100102
Affiliations:
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Le document en format XML
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<term>Bill rolston</term>
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<term>Black taxi drivers</term>
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<term>Graffiti subculture</term>
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<term>Loyalist mural painting</term>
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<term>Mural artists</term>
<term>Mural directory</term>
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<term>Nicholas bourriaud</term>
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<term>Other words</term>
<term>Painting murals</term>
<term>Paramilitary murals</term>
<term>Peace process</term>
<term>Peace wall</term>
<term>Political ideologies</term>
<term>Political murals</term>
<term>Political significance</term>
<term>Political tourism</term>
<term>Postrevolution government</term>
<term>Power relations</term>
<term>Professional painters</term>
<term>Radical politics</term>
<term>Relational aesthetics</term>
<term>Republican communities</term>
<term>Republican community</term>
<term>Republican muralist danny devenny</term>
<term>Republican murals</term>
<term>Rivera</term>
<term>Roland barthes</term>
<term>Rolston</term>
<term>Ruling elite</term>
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<term>Sectarian conflict</term>
<term>Sectarian divisions</term>
<term>Sectarian messages</term>
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<front><div type="abstract" xml:lang="en">Traditionally, the political murals of Belfast have been understood as expressions of either loyalist or republican communities, a reading that reduces the complex struggles of Northern Ireland into a simple conflict between two groups. This article rereads the murals through the specific context of the peace process, in which the “two communities” thesis is losing its relevance. It suggests that when the murals are understood through three, wider networks—production, signification, and reception—it is possible to see how they disrupt ongoing debates about public art, make explicit gestures to other international conflicts (such as the hunger strikers in Turkey), and encourage a new form of political tourism. Rereading the murals in this way reveals the multiple global networks that the city of Belfast is linked into, networks that are silenced by a traditional “two communities” framework.</div>
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