DOCSLIB.ORG

Diplomarbeit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Freedom’s Just Another Word for Nothing Left to Lose”: Visual Representation of the 1981 Hunger Strike in Northern Ireland in the Films Some Mother’s Son and Hunger Verfasserin Tanja Ölschläger angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuer: Ao. Univ.-Prof. Mag. Dr. Franz Wöhrer Declaration of Authenticity I confirm to have conceived and written this thesis in English all by myself. Quotations from other authors are clearly marked and acknowledged in the bibliographical references either in footnotes or within the text. Any ideas borrowed and / or passages paraphrased from the works of other authors are truthfully acknowledged and identified in the footnotes. Tanja Ölschläger Hinweis Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin befähigt ist, wissenschaftliche Themen selbstständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Die Habilitierten des Instituts für Anglistik und Amerikanistik bitten, diesen Hinweis bei der Lektüre zu beachten. Acknowledgements First and foremost, I am deeply indebted to my advisor, Ao. Univ.-Prof. Mag. Dr. Franz-Karl Wöhrer, for supervising my thesis and the freedom he granted me in the creative process. His encouragement, support and reassuring feedback proved to be an invaluable help during the process of writing this thesis. In addition, I would like to express my deepest gratitude to my mother and my sister who have always offered me their unconditional love and support especially during the course of my studies. Moreover, I would like to thank my father, who I know has been with me every step of the way. Last but definitely not least, I would like to thank my friends. As it is impossible to name all of them I can only highlight a few. I especially want to thank Anna who has become one of my closest confidants during my university years and shared both the most inspiring and the most demanding moments with me, yet, mostly I want to thank her for her interest and enthusiasm that where still present when mine seemed to falter. I would also like to thank Sarah dearly for listening to all my queries throughout the past years and for proofreading my thesis. She has been an invaluable friend and colleague ever since I met her. TABLE OF CONTENTS 1 INTRODUCTION ............................................................................................ 1 2 HISTORICAL BACKGROUND....................................................................... 3 2.1 NORTHERN IRELAND CONFLICT ........................................................................................... 3 2.1.1 The Origins of the Conflict ....................................................................................................... 4 2.1.2 The time previous to the ‘Troubles’ ........................................................................................ 7 2.1.3 Paving the Way towards Escalation ..................................................................................... 10 2.1.4 The Aftermath of the Hunger Strike ...................................................................................... 14 2.1.5 Northern Ireland on Its Way Towards Lasting Peace ........................................................ 16 2.2 THE PROGRESS OF THE HUNGER STRIKE ( TRADITION OF SELF-IMMOLATION IN IRELAND) ..... 18 2.3 BOBBY SANDS (ROIBEARD Ó SEACHNASAIGH) ................................................................... 22 2.3.1 Early Years ............................................................................................................................... 22 2.3.2 From the First Encounters to the Engagement in the IRA ................................................ 24 2.3.3 First Prison Term ..................................................................................................................... 25 2.3.4 Failure in Trying to Lead a ‘Normal’ Life .............................................................................. 27 2.3.5 Second Prison Term in Long Kesh ....................................................................................... 28 2.3.6 The last days in Bobby Sands’s life ...................................................................................... 30 3 REPRESENTING THE NORTH .................................................................... 31 3.1 MURALS ........................................................................................................................... 31 3.1.1 Loyalist Murals ......................................................................................................................... 31 3.1.2 Republican Murals .................................................................................................................. 36 3.2 PUTTING THE ‘TROUBLES’ ON THE SCREEN ........................................................................ 42 3.2.1 The Legacy of Odd Man Out ................................................................................................. 42 3.2.2 A Cinema of Armistice – Films Previous to the Good Friday Agreement ....................... 45 3.2.3 A Comedy of Conflict? ............................................................................................................ 48 3.2.4 Romance in Times of the ‘Troubles’ ..................................................................................... 49 3.3 COMMEMORATIVE CINEMA ................................................................................................ 52 4 “SOME MOTHER’S SON“ ........................................................................... 55 4.1 PLOT SUMMARY ............................................................................................................... 55 4.2 GENERAL REMARKS AND CRITICISM .................................................................................. 57 4.3 ANALYSIS ......................................................................................................................... 59 4.3.1 The Mothers ............................................................................................................................. 59 4.3.1.1 Kathleen Quigley ............................................................................................................ 59 4.3.1.2 Annie Higgins ................................................................................................................. 62 4.3.2 The Inmates ............................................................................................................................. 64 4.3.2.1 Gerard Quigley ............................................................................................................... 64 4.3.2.2 Frank Higgins ................................................................................................................. 67 4.3.2.3 Bobby Sands .................................................................................................................. 68 4.3.3 Personal Relationships ........................................................................................................... 69 4.3.3.1 Mother and Son .............................................................................................................. 69 4.3.3.2 Between Mothers ............................................................................................................ 71 5 “HUNGER“................................................................................................... 74 5.1 PLOT SUMMARY ............................................................................................................... 74 5.2 GENERAL REMARKS AND CRITICISM .................................................................................. 75 5.3 ANALYSIS ......................................................................................................................... 77 5.3.1 The Guards .............................................................................................................................. 77 5.3.1.1 Raymond Lohan ............................................................................................................. 78 5.3.1.2 Stephen Graves, Riot Prison Officer ............................................................................... 80 5.3.2 The Inmates ............................................................................................................................. 82 5.3.2.1 Davey Gillen and Gerry Campbell .................................................................................. 83 5.3.2.2 Bobby Sands .................................................................................................................. 86 5.3.3 Personal Relationships ........................................................................................................... 90 5.3.3.1 Between guards and inmates ......................................................................................... 90 5.3.3.2 Between inmates ............................................................................................................ 92 6 CONCLUSION .............................................................................................
Load more

Recommended publications
  • The Counter-Aesthetics of Republican Prison Writing
    Notes Chapter One Introduction: Taoibh Amuigh agus Faoi Ghlas: The Counter-aesthetics of Republican Prison Writing 1. Gerry Adams, “The Fire,” Cage Eleven (Dingle: Brandon, 1990) 37. 2. Ibid., 46. 3. Pat Magee, Gangsters or Guerillas? (Belfast: Beyond the Pale, 2001) v. 4. David Pierce, ed., Introduction, Irish Writing in the Twentieth Century: A Reader (Cork: Cork University Press, 2000) xl. 5. Ibid. 6. Shiela Roberts, “South African Prison Literature,” Ariel 16.2 (Apr. 1985): 61. 7. Michel Foucault, “Power and Strategies,” Power/Knowledge: Selected Interviews and Other Writings, 1972–1977, ed. Colin Gordon (New York: Pantheon, 1980) 141–2. 8. In “The Eye of Power,” for instance, Foucault argues, “The tendency of Bentham’s thought [in designing prisons such as the famed Panopticon] is archaic in the importance it gives to the gaze.” In Power/ Knowledge 160. 9. Breyten Breytenbach, The True Confessions of an Albino Terrorist (New York: Farrar, Straus & Giroux, 1983) 147. 10. Ioan Davies, Writers in Prison (Cambridge, MA: Blackwell, 1990) 4. 11. Ibid. 12. William Wordsworth, “Preface to Lyrical Ballads,” The Norton Anthology of English Literature vol. 2A, 7th edition, ed. M. H. Abrams et al. (New York: W. W. Norton, 2000) 250. 13. Gerry Adams, “Inside Story,” Republican News 16 Aug. 1975: 6. 14. Gerry Adams, “Cage Eleven,” Cage Eleven (Dingle: Brandon, 1990) 20. 15. Wordsworth, “Preface” 249. 16. Ibid., 250. 17. Ibid. 18. Terry Eagleton, The Ideology of the Aesthetic (Cambridge, MA: Blackwell, 1990) 27. 19. W. B. Yeats, Essays and Introductions (New York: Macmillan, 1961) 521–2. 20. Bobby Sands, One Day in My Life (Dublin and Cork: Mercier, 1983) 98.
    [Show full text]
  • Dziadok Mikalai 1'St Year Student
    EUROPEAN HUMANITIES UNIVERSITY Program «World Politics and economics» Dziadok Mikalai 1'st year student Essay Written assignment Course «International relations and governances» Course instructor Andrey Stiapanau Vilnius, 2016 The Troubles (Northern Ireland conflict 1969-1998) Plan Introduction 1. General outline of a conflict. 2. Approach, theory, level of analysis (providing framework). Providing the hypothesis 3. Major actors involved, definition of their priorities, preferences and interests. 4. Origins of the conflict (historical perspective), major actions timeline 5. Models of conflicts, explanations of its reasons 6. Proving the hypothesis 7. Conclusion Bibliography Introduction Northern Ireland conflict, called “the Troubles” was the most durable conflict in the Europe since WW2. Before War in Donbass (2014-present), which lead to 9,371 death up to June 3, 20161 it also can be called the bloodiest conflict, but unfortunately The Donbass War snatched from The Troubles “the victory palm” of this dreadful competition. The importance of this issue, however, is still essential and vital because of challenges Europe experience now. Both proxy war on Donbass and recent terrorist attacks had strained significantly the political atmosphere in Europe, showing that Europe is not safe anymore. In this conditions, it is necessary for us to try to assume, how far this insecurity and tensions might go and will the circumstances and the challenges of a international relations ignite the conflict in Northern Ireland again. It also makes sense for us to recognize that the Troubles was also a proxy war to a certain degree 23 Sources, used in this essay are mostly mass-media articles, human rights observers’ and international organizations reports, and surveys made by political scientists on this issue.
    [Show full text]
  • Programme of Events
    TIME EVENT VENUE PRICE The Fringe Festival Thursday, 11th October Gangsters and Goodfellas Alice’s Restaurant A talk with James Durney on his new book The Quiet Man. NYPD Detective Peter Daly. from 20.00 FRINGE EVENT: Alice’s Restaurant Alice’s Restaurant, FREE An evening of poetry and prose readings with Niamh Moat Mall, Naas DATE: Thursday, 11th October TIME: from 20.00 DATE: Saturday, 13th October TIME: 15.30 - 16.30 VENUE: The Keadeen Hotel, Newbridge Boyce, interspersed with music and songs. VENUE: Alice’s Restaurant, Moat Mall, Naas ADMISSION: FREE Peter Daly was born in Ballyshannon, Co. Donegal and emigrated to NYC Friday, 12th October Not only is Alice’s Restaurant in the Moate Mall, Naas well-known for its fabulous food, in the 1950s. In 1961 he joined the NYPD, patrolling the streets of the 18.30 - 19.30 Mayor’s Festival Opening Reception Riverbank Arts Centre FREE but it is long established as a music and literary venue for local and popular Irish artists. Lower East Side in Manhattan. His beat put him in contact with street FRINGE EVENT: Launch of KRF: 2 Notebook Project Kick up your heels for a fringe event to remember and join Bean an Tí Eileen with Niamh gangs and organised crime figures like Red Levine, a killer for Murder Poetry Reading with Ann Egan Boyce (pictured above), nominated Hennessy New Irish Writer 2012, for an evening to Inc., and Mad Dog Frankie Falco, a notorious cop-killer. His Special 19.30 - 20.30 Festival Launch with Colin Bateman Riverbank Arts Centre FREE share inspiring poetry and prose readings, interspersed with music and songs from the Investigations Unit was notoriously corrupt and Peter made one of the floor.
    [Show full text]
  • The Contemporary Irish Detective Novel
    The Contemporary Irish Detective Novel Edited by Elizabeth Mannion General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/14927 Elizabeth Mannion Editor The Contemporary Irish Detective Novel Editor Elizabeth Mannion Philadelphia , Pennsylvania , USA Crime Files ISBN 978-1-137-53939-7 ISBN 978-1-137-53940-3 (eBook) DOI 10.1057/978-1-137-53940-3 Library of Congress Control Number: 2016933996 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or here- after developed.
    [Show full text]
  • Bridie O'byrne
    INTERVIEWS We moved then from Castletown Cross to Dundalk. My father was on the Fire Brigade in Dundalk and we had to move into town and we Bridie went to the firemen’s houses in Market Street. Jack, my eldest brother, was in the army at the time and as my father grew older Jack O’Byrne eventually left the army. He got my father’s job in the Council driving on the fire brigade and nee Rooney, steamroller and things. boRn Roscommon, 1919 Then unfortunately in 1975 a bomb exploded in ’m Bridie O’Byrne - nee Crowes Street (Dundalk). I was working in the Echo at the time and I was outside the Jockeys Rooney. I was born in (pub) in Anne Street where 14 of us were going Glenmore, Castletown, out for a Christmas drink. It was about five minutes to six and the bomb went off. At that in Roscommon 90 time I didn’t know my brother was involved in years ago 1 . My it. We went home and everyone was talking Imother was Mary Harkin about the bomb and the bomb. The following day myself and my youngest son went into town from Roscommon and my to get our shopping. We went into Kiernan’s first father was Patrick Rooney to order the turkey and a man there asked me from Glenmore. I had two how my brother was and, Lord have mercy on Jack, he had been sick so I said, “Oh he’s grand. “Did you brothers Jack and Tom and He’s back to working again.” And then I got to not know my sister Molly; just four of White’s in Park Street and a woman there asked me about my brother and I said to her, “Which that your us in the family.
    [Show full text]
  • Leading to Peace: Prisoner Resistance and Leadership Development in the IRA and Sinn Fein
    Leading to Peace: Prisoner Resistance and Leadership Development in the IRA and Sinn Fein By Claire Delisle Dissertation submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the Ph.D. degree in Criminology Department of Criminology Faculty of Social Sciences University of Ottawa ©Claire Delisle, Ottawa, Canada, 2012 To the women in my family Dorothy, Rollande, Émilie, Phoebe and Avril Abstract The Irish peace process is heralded as a success among insurgencies that attempt transitions toward peaceful resolution of conflict. After thirty years of armed struggle, pitting Irish republicans against their loyalist counterparts and the British State, the North of Ireland has a reconfigured political landscape with a consociational governing body where power is shared among several parties that hold divergent political objectives. The Irish Republican Movement, whose main components are the Provisional Irish Republican Army, a covert guerilla armed organization, and Sinn Fein, the political party of Irish republicans, initiated peace that led to all-inclusive talks in the 1990s and that culminated in the signing of the Good Friday Agreement in April 1998, setting out the parameters for a non-violent way forward. Given the traditional intransigence of the IRA to consider any route other than armed conflict, how did the leadership of the Irish Republican Movement secure the support of a majority of republicans for a peace initiative that has held now for more than fifteen years? This dissertation explores the dynamics of leadership in this group, and in particular, focuses on the prisoner resistance waged by its incarcerated activists and volunteers.
    [Show full text]
  • Belfast's Sites of Conflict and Structural Violence
    Belfast’s Sites of Conflict and Structural Violence: An Exploration of the Transformation of Public Spaces through Theatre and Performance Sadie Gilker A Thesis in The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Individualized Program) at Concordia University Montreal, Quebec, Canada December 2020 © Sadie Gilker, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Sadie Gilker Entitled: Belfast’s Sites of Conflict and Structural Violence: An Exploration of the Transformation of Public Spaces through Theatre and Performance and submitted in partial fulfillment of the requirements for the degree of Master of Arts – Individualized Program complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Rachel Berger Examiner Thesis Supervisor(s) Dr. Emer O’Toole Thesis Supervisor(s) Dr. Gavin Foster Thesis Supervisor(s) Dr. Shauna Janssen Approved by Chair of Department or Graduate Program Director Dr. Rachel Berger Dr. Effrosyni Diamantoudi Dean iii Abstract Belfast’s Sites of Conflict and Structural Violence: An Exploration of the Transformation of Public Spaces through Theatre and Performance Sadie Gilker, MA Concordia University, 2020 This interdisciplinary project examines contemporary, everyday, and theatrical performances that represent violence in public space in Belfast, Northern Ireland. Utilizing the fields of Performance Studies, Urban Planning, and History, my thesis explores how theatre and performance can process violence and change perceptions of sites of conflict related to the Northern Irish Troubles (1968-1998). I examine Charabanc Theatre Company’s Somewhere Over the Balcony (1987), Tinderbox Theatre Company’s Convictions (2000), and Black Taxi Tours (2019) to address different time frames in Northern Ireland’s history and assess how performance interacts with violence and public space.
    [Show full text]
  • Aspects Festival Bangor 20 September – 6 October 2019 a Celebration of Irish Writing P TOURIST BANGOR MARINA INFORMATION PICKIE FUN PARK HELLO and WELCOME HIGH STREET
    Aspects Festival Bangor 20 September – 6 October 2019 A celebration of Irish writing P TOURIST BANGOR MARINA INFORMATION PICKIE FUN PARK HELLO AND WELCOME HIGH STREET P Welcome to Aspects 2019 QUEENS PARADE We use the cliché all too often but there really is something for everyone in 1 this year's programme! There are events celebrating historical writing, poetry, crime fiction, writing workshops, children’s events, politics, memoir, journalism, 6 GRAYS HILL P STREET MAIN scriptwriting, the short story and exhibitions. HAMILTON ROAD Back by popular demand, we welcome some of our Aspects friends in Michael Longley, Fergal Keane and Malachi O’Doherty – as well as local talents Moyra Donaldson, Ian Sansom and Colin Bateman. 2 MAIN STREET We are delighted to host the launch of Darina Allen’s new cookbook and Gerald Dawe’s new poetry collection. BUS & TRAIN STATION Don’t miss out on our female crime event and Women Aloud NI shares its poetic TENNIS COURTS thoughts on food. We hope you enjoy exploring our programme and look forward to seeing you at the festival. 5 Aspects Festival Team ABBEY STREET SERC P BELFAST ROAD P BELFAST ROAD 3 BANGOR AURORA TO CLANDEBOYE AQUATIC & LEISURE ESTATE COMPLEX 1 THE BLACKBERRY 4 PATH ART STUDIOS 2 BANGOR CARNEGIE LIBRARY 3 BANGOR CASTLE P & NORTH DOWN MUSEUM 4 WALLED GARDEN We have sent you this guide as we believe you have a legitimate interest in our product as you have 5 SERC THEATRE requested to receive it before, however you can unsubscribe at any time and we will no longer send A21 FESTIVAL MAP 6 BOOM! STUDIOS you a copy.
    [Show full text]
  • A Reply to HM Government, , Information on Ireland, 1980
    H-Blocks: The Truth: A Reply to H.M. Government, , Information on Ireland, 1980, 0950738107, 9780950738109, . DOWNLOAD HERE Northern Ireland managing difference, John P. Darby, Minority Rights Group, 1995, History, 38 pages. H blocks British jail for Irish political prisoners, Denis Faul, Raymond Murray, 1979, History, 154 pages. An Anti-imperialist's Guide to the Irish War , , 1983, Great Britain, 138 pages. Portions of this page may be (c) 2006 Muze Inc. Some database content may also be provided by Baker & Taylor Inc. Copyright 1995-2006 Muze Inc. For personal non-commercial use only. All rights reserved. Content for books is owned by Baker & Taylor, Inc. or its licensors and is subject to copyright and all other protections provided by applicable law. It was situated at the former Royal Air Force station of Long Kesh, on the outskirts of Lisburn. This was in the townland of Maze, about nine miles (14 km) southwest of Belfast. The prison and its inmates played a prominent role in recent Irish history, notably in the 1981 hunger strike. The prison was closed in 2000 and demolition began on 30 October 2006, but on 18 April 2013 it was announced that the remaining buildings would be redeveloped into a peace center.[1] Initially the internees were housed, with different paramilitary groups separated from each other, in Nissen huts at a disused RAF airfield that became the Long Kesh Detention Centre. The internees and their supporters agitated for improvements in their conditions and status; they saw themselves as political prisoners rather than common criminals. In July 1972 William Whitelaw introduced Special Category Status for those sentenced for crimes relating to the civil violence.
    [Show full text]
  • Roinn Cosanta. Bureau of Military History, 1913-21
    ROINN COSANTA. BUREAU OF MILITARY HISTORY, 1913-21. STATEMENT BY. WITNESS. DOCUMENT NO. W.S. 919 Witness Mrs. Ina Heron, 9, Percy Place, Dubiln. Identity. Daughter of James Connally who was executed in 1916; secretary of Betsy Gray Sluagh of Fianna. Eireann; Member of Cumann na mBan. Subject. (a) Social conditions in Ireland in the early twentieth century; (b) Historical background of her family. Conditions, if any, Stipulated by Witness. Nil File No. FormB.S.M.2 STATEMENT OF MRS. INA HERON (CONNOLLY) My father was born in Edinburgh in the year 1868. His father, John Connolly, had evidently emigrated from the neighbourhood of Scotstown, Ballybay, Co. Monaghan. His mother's name was Mary Maginn, I think from the same district. I got these particulars from Desmond Greaves of London who examined the register in the Church of St. John the Baptist, Merville St., Perth, and took a photostat copy of the entry of the marriage of my Lather and mother on 30th April 1890. I am giving the Bureau a copy of the entries (Appendix A.) My father had a brother, John, older than himself. He was prominent in local politics in Edinburgh when father was a little boy and it was he who was expected to distinguish himself in I that sphere. He entered the British army as a young man and died about June 1916 and was buried with British military honours. My grandfather got a job as manure carrier in the Corporation of Edinburgh and it was there my father was born in 1868. My grandfather's brother, Peter, who was a Penian, had been obliged to flee to Scotland before that, having changed his name because there was a price on his head.
    [Show full text]
  • Delivered: 11/05/2021 in the MATTER of the CORONERS
    Neutral Citation No: Ref: KEE11472 ICOS No: Judgment: approved by the Court for handing down (subject to editorial corrections)* Delivered: 11/05/2021 IN THE MATTER OF THE CORONERS ACT (NORTHERN IRELAND) 1959 __________ IN THE MATTER OF A SERIES OF DEATHS THAT OCCURRED IN AUGUST 1971 AT BALLYMURPHY, WEST BELFAST __________ INCIDENT 1 THE DEATHS OF FATHER HUGH MULLAN AND FRANK QUINN __________ CORE ABBREVIATIONS IN THIS INQUEST: MoD: Ministry of Defence NOK: Next of Kin IRA: Irish Republican Army HET: Historical Enquiries Team UVF: Ulster Volunteer Force APC/Saracen: A six-wheeled armoured personnel carrier (APC) APC/Pig: A Humber armoured personnel carrier (APC) SEM-EDX test: Scanning Electron Microscopy with Energy Dispersive X-ray Spectrometry CDR: Cartridge Discharge Residue SAA: Small Arms Ammunition SLR: Self-loading Rifle RUC: Royal Ulster Constabulary PSNI: Police Service of Northern Ireland CSNI: Coroners Service for Northern Ireland CSO: Crown Solicitor’s Office FSNI: Forensic Science Northern Ireland 1 CIFEX: Centre for Information on Firearms and Explosives FAL: Fusil Automatique Leger Sections Paragraphs I. Introduction [1]-[8] II. Family Testimonials [9]-[15] III. Setting the scene [16]-[25] IV. The Pathology Evidence: Father Hugh Mullan [26]-[34] V. The Ballistics Evidence: Father Hugh Mullan [35]-[37] VI. The Pathology Evidence: Mr Quinn [38]-[44] VII. The Ballistics Evidence: Mr Quinn [45]-[50] VIII. The Civilian Evidence [51]-[260] IX. Evidence from RUC Witnesses [261]-[277] X. Military Evidence [278]-[470] XI. Other Evidence including the investigation at the time [471]-[474] XII. Conclusions from the Evidence [475]-[524] XIII. Verdict [525] I: INTRODUCTION [1] This is an account of the evidence and my conclusions and verdict.
    [Show full text]
  • Irish Fiction and Drama of the First World War (1915-2015): Narrativizing Trauma, Memory, and the Combatant in a Divided Ireland
    IRISH FICTION AND DRAMA OF THE FIRST WORLD WAR (1915-2015): NARRATIVIZING TRAUMA, MEMORY, AND THE COMBATANT IN A DIVIDED IRELAND By ANDRÉA CALOIARO A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2016 © 2016 Andréa Caloiaro To my loving mother and father, Mary and Ozzie Caloiaro, and my unceasingly supportive wife, Lillian Vargas-Caloiaro ACKNOWLEDGMENTS My deepest love and heartfelt gratitude go first to three of my family members, my parents, Ozzie and Mary Caloiaro, and my wife Lillian Vargas. This project would not have come to be if it were not for their unfailing loyalty, support, and words of encouragement. They have believed in me whenever my confidence wavered, and for that I could not be more grateful. While I owe them a debt that can never be fully repaid, I will do my best through love and devotion. Secondly, for their generosity in time, intellect, and for the invaluable advice they have afforded me over these past five years, I also express my sincere gratitude to my committee members, Dr. R. Brandon Kershner, Dr. Marsha Bryant, Dr. Phillip Wegner, and Dr. Jessica Harland-Jacobs. A special thanks goes to my director, Dr. Kershner, whose groundbreaking dialogical and cultural studies approaches to Joyce and Irish Studies have indelibly shaped my own critical methods and classroom pedagogy. Dr. Kershner is an ideal teacher and mentor; his openness to new ideas and his encouragement for this project have truly made my graduate experience an unforgettable time of scholarly freedom and development.
    [Show full text]