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Let's Electrify Scranton with Welsh Pride Festival Registrations
Periodicals Postage PAID at Basking Ridge, NJ The North American Welsh Newspaper® Papur Bro Cymry Gogledd America™ Incorporating Y DRYCH™ © 2011 NINNAU Publications, 11 Post Terrace, Basking Ridge, NJ 07920-2498 Vol. 37, No. 4 July-August 2012 NAFOW Mildred Bangert is Honored Festival Registrations Demand by NINNAU & Y DRYCH Mildred Bangert has dedicated a lifetime to promote Calls for Additional Facilities Welsh culture and to serve her local community. Now that she is retiring from her long held position as Curator of the By Will Fanning Welsh-American Heritage Museum she was instrumental SpringHill Suites by Marriott has been selected as in creating, this newspaper recognizes her public service additional Overflow Hotel for the 2012 North by designating her Recipient of the 2012 NINNAU American Festival of Wales (NAFOW) in Scranton, CITATION. Read below about her accomplishments. Pennsylvania. (Picture on page 3.) This brand new Marriott property, opening mid-June, is located in the nearby Montage Mountain area and just Welsh-American Heritage 10 minutes by car or shuttle bus (5 miles via Interstate 81) from the Hilton Scranton and Conference Center, the Museum Curator Retires Festival Headquarters Hotel. By Jeanne Jones Jindra Modern, comfortable guest suites, with sleeping, work- ing and sitting areas, offer a seamless blend of style and After serving as curator of the function along with luxurious bedding, a microwave, Welsh-American Heritage for mini-fridge, large work desk, free high-speed Internet nearly forty years, Mildred access and spa-like bathroom. Jenkins Bangert has announced Guest suites are $129 per night (plus tax) and are avail- her retirement. -
JC445 Causeway Museum Emblems
North East PEACE III Partnership A project supported by the PEACE III Programme managed for the Special EU Programmes Body by the North East PEACE III Partnership. JJC445C445 CausewayCauseway Museum_EmblemsMuseum_Emblems Cover(AW).inddCover(AW).indd 1 009/12/20119/12/2011 110:540:54 Badge from the anti-home rule Convention of 1892. Courtesy of Ballymoney Museum. Tourism Poster. emblems Courtesy of Coleraine Museum. ofireland Everywhere we look we see emblems - pictures which immediately conjure connections and understandings. Certain emblems are repeated over and over in a wide range of contexts. Some crop up in situations where you might not expect them. The perception of emblems is not fi xed. Associations change. The early twentieth century was a time when ideas were changing and the earlier signifi cance of certain emblems became blurred. This leafl et contains a few of the better and lesser known facts about these familiar images. 1 JJC445C445 CCausewayauseway Museum_EmblemsMuseum_Emblems Inner.inddInner.indd 1 009/12/20119/12/2011 110:560:56 TheThe Harp HecataeusHecata of Miletus, the oldest known Greek historian (around 500BC),500BC) describes the Celts of Ireland as “singing songs in praise ofof Apollo,Apo and playing melodiously on the harp”. TheThe harpha has been perceived as the central instrument of ancientancient Irish culture. “The“Th Four Winds of Eirinn”. CourtesyCo of J & J Gamble. theharp The Image of the Harp Harps come in many shapes and sizes. The most familiar form of the Irish harp is based on the so called “Brian Boru’s Harp”. The story is that Brian Boru’s son gave it to the Pope as a penance. -
FLAG of IRELAND - a BRIEF HISTORY Where in the World
Part of the “History of National Flags” Series from Flagmakers FLAG OF IRELAND - A BRIEF HISTORY Where In The World Trivia The Easter Rising Rebels originally adopted the modern green-white-orange tricolour flag. Technical Specification Adopted: Officially 1937 (unofficial 1916 to 1922) Proportion: 1:2 Design: A green, white and orange vertical tricolour. Colours: PMS – Green: 347, Orange: 151 CMYK – Green: 100% Cyan, 0% Magenta, 100% Yellow, 45% Black; Orange: 0% Cyan, 100% Magenta 100% Yellow, 0% Black Brief History The first historical Flag was a banner of the Lordship of Ireland under the rule of the King of England between 1177 and 1542. When the Crown of Ireland Act 1542 made Henry VII the king of Ireland the flag became the Standard of the Kingdom of Ireland, a blue field featuring a gold harp with silver strings. The Banner of the Lordship of Ireland The Royal Standard of the Kingdom of Ireland (1177 – 1541) (1542 – 1801) When Ireland joined with Great Britain to form the United Kingdom of Great Britain and Ireland in 1801, the flag was replaced with the Flag of the Lord Lieutenant of Ireland. This was flag of the United Kingdom defaced with the Coat of Arms of Ireland. During this time the Saint Patrick’s flag was also added to the British flag and was unofficially used to represent Northern Ireland. The Flag of the Lord Lieutenant of Ireland The Cross of Saint Patrick (1801 – 1922) The modern day green-white-orange tricolour flag was originally used by the Easter Rising rebels in 1916. -
Flags and Banners
Flags and Banners A Wikipedia Compilation by Michael A. Linton Contents 1 Flag 1 1.1 History ................................................. 2 1.2 National flags ............................................. 4 1.2.1 Civil flags ........................................... 8 1.2.2 War flags ........................................... 8 1.2.3 International flags ....................................... 8 1.3 At sea ................................................. 8 1.4 Shapes and designs .......................................... 9 1.4.1 Vertical flags ......................................... 12 1.5 Religious flags ............................................. 13 1.6 Linguistic flags ............................................. 13 1.7 In sports ................................................ 16 1.8 Diplomatic flags ............................................ 18 1.9 In politics ............................................... 18 1.10 Vehicle flags .............................................. 18 1.11 Swimming flags ............................................ 19 1.12 Railway flags .............................................. 20 1.13 Flagpoles ............................................... 21 1.13.1 Record heights ........................................ 21 1.13.2 Design ............................................. 21 1.14 Hoisting the flag ............................................ 21 1.15 Flags and communication ....................................... 21 1.16 Flapping ................................................ 23 1.17 See also ............................................... -
Art and Design Coins in the Classroom
Art and Design Coins in the Classroom royalmint.com/kids Fact File 2 Reverse Design Facts Coins with the definitive shield reverse designs entered circulation in 2008. The original decimal designs had been in circulation for almost 40 years and it was felt they needed to be refreshed. The competition to design the coins was a public one and The Royal Mint received more than 4,000 designs from 526 people – the largest ever response to a public competition of this type in Britain. The £1 coin was not originally part of the design brief. A first sift of the drawings was made by three members of The Royal Mint Advisory Committee and 4,000 drawings were reduced to 418 designs. The 418 designs represented 52 series of coins. This was then whittled down to 18 designs representing three series. The designs chosen had to be not just pictures but symbols of the nation. It was decided that the heraldry on some designs was ‘too 2008 Shield Design by Matt Dent Hogwarts’ or ‘Narnia-like’ or it was ‘too gothic and overbearing’. It was said by The Royal Mint Advisory Committee that the winning entry broke ‘the mould in an exciting way’ and ‘is a truly modern series at last.’ Matt Dent The winner of the competition, with the pseudonym Designer Z (as all coin design competitions are anonymous), turned out to be a young graphic designer called Matt Dent, who trained at Coleg Menai in Wales and the University of Brighton. He said about his design that “the piecing together of the elements of the Royal Arms to form one design had a satisfying symbolism – that of unity, four countries of Britain under a single monarch.” Art and Design royalmint.com/kids Fact File 3 UK Coin Design A Penny For Your Thoughts The United Kingdom 1p coin was one of three new coins that joined the 5p, 10p and 50p in general circulation on 15 February 1971 when the United Kingdom adopted a new decimal currency system. -
© 2012 Steven M. Maas
© 2012 Steven M. Maas WELSHNESS POLITICIZED, WELSHNESS SUBMERGED: THE POLITICS OF ‘POLITICS’ AND THE PRAGMATICS OF LANGUAGE COMMUNITY IN NORTH-WEST WALES BY STEVEN M. MAAS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Janet D. Keller, Chair Professor Walter Feinberg Associate Professor Michèle Koven Professor Alejandro Lugo Professor Andrew Orta ABSTRACT This dissertation investigates the normative construction of a politics of language and community in north-west Wales (United Kingdom). It is based on ethnographic fieldwork conducted primarily between January 2007 and April 2008, with central participant-observation settings in primary-level state schools and in the teaching-spaces and hallways of a university. Its primary finding is an account of the gap between the national visibility and the cultural (in)visibility communities of speakers of the indigenous language of Wales (Cymraeg, or “Welsh”). With one exception, no public discourse has yet emerged in Wales that provides an explicit framework or vocabulary for describing the cultural community that is anchored in Cymraeg. One has to live those meanings even to know about them. The range of social categories for living those meanings tends to be constructed in ordinary conversations as some form of nationalism, whether political, cultural, or language nationalism. Further, the negatively valenced category of nationalism current in English-speaking Britain is in tension with the positively valenced category of nationalism current among many who move within Cymraeg- speaking communities. Thus, the very politics of identity are themselves political since the line between what is political and what is not, is itself subject to controversy. -
Reporting the UK Guidance
Last updated March 2021 Reporting the UK – Revised Guidance Key points Accurate reporting of the UK’s different governments and cultures is essential to the way our audiences view and judge the BBC’s output. We should respect and reflect the national and regional differences and sensitivities and report all parts of the UK accurately, consistently and fairly, avoiding stereotypes or clichés. Content producers should use correct terminology and pronunciation for the relevant part of the UK. Referrals to BBC National Directors Editorial Guidelines (2.4.3): Any content producers intending to produce output about Northern Ireland or significant projects involving the Republic of Ireland, should notify Director Northern Ireland of their proposals at an early stage. Content producers outside Scotland and Wales should inform the director of the relevant nation of their plans to produce programme material which is based in the relevant nation or which deals significantly with national issues or themes. General BBC programmes and services should be relevant and appropriate for all our audiences in all parts of the United Kingdom. Audiences approach our output in different ways and with different expectations because their lives are shaped by different: • cultural backgrounds • life experiences • civic and political institutions. We should respect and reflect the national and regional differences and sensitivities and report all parts of the UK accurately, consistently and fairly, avoiding stereotypes or clichés. Key differences We should note that varying differences exist between England, Wales, Scotland and Northern Ireland which principally include: • the powers of their political institutions - Westminster, the Scottish Parliament, the Senedd – the Welsh Parliament, the Northern Ireland Assembly, the London Assembly and combined authorities. -
The Union Flag and Flags of the United Kingdom
BRIEFING PAPER Number 04474, 1 June 2021 Flags: the Union Flag and By Hazel Armstrong flags of the United Kingdom Contents: 1. Background 2. National flags of the UK 3. Northern Ireland www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 Flags: the Union Flag and flags of the United Kingdom Contents Summary 3 1. Background 4 1.1 Flag flying on royal residences 5 1.2 Flag flying on Government Buildings 6 1.3 European Flag 9 1.4 Flag flying at UK Parliament 9 1.5 Guidance for local authorities, individuals and organisations 11 2. National flags of the UK 13 2.1 The United Kingdom 13 2.2 England 15 2.3 Scotland 16 2.4 Wales 18 3. Northern Ireland 22 3.1 Historical flags 22 3.2 1954 Act 22 3.3 Government Buildings in Northern Ireland 23 3.4 Northern Ireland Assembly 26 3.5 Belfast City Council 26 3.6 Commission on Flags, Identity, Culture and Tradition (FICT) 27 Attribution: Union Jack with building by andrewbecks / image cropped. Licensed under Pixabay License – no copyright required. 3 Commons Library Briefing, 1 June 2021 Summary Union flag or Union jack? The Union Flag, commonly known as the Union Jack, is the national flag of the United Kingdom of Great Britain and Northern Ireland. The original Union Flag was introduced in 1606 as a maritime flag and in 1634, a Royal Proclamation laid down that the Union Flag was reserved for His Majesty’s Ships of War. When the 'Union Jack' was first introduced in 1606, it was known simply as 'the British flag' or 'the flag of Britain'. -
A Reading of Dylan Thomas's Under Milk Wood
ALAN PETER FEAR A WALK THROUGH LLAREGGUB: A READING OF DYLAN THOMAS’S UNDER MILK WOOD PORTO ALEGRE 2012 2 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA: ESTUDOS DE LITERATURA ESPECIALIDADE: LITERATURAS ESTRANGEIRAS MODERNAS LINHA DE PESQUISA: LITERATURA, IMAGINÁRIO E HISTÓRIA A WALK THROUGH LLAREGGUB: A READING OF DYLAN THOMAS’S UNDER MILK WOOD AUTOR: ALAN PETER FEAR ORIENTADORA: SANDRA SIRANGELO MAGGIO Dissertação de Mestrado em Literaturas Estrangeiras Modernas submetida ao Programa de Pós-Graduação em Letras da Universidade Federal do Rio Grande do Sul como requisito parcial para a obtenção do título de Mestre. PORTO ALEGRE Abril, 2012 3 FICHA CATALOGRÁFICA FEAR, Alan Peter A Walk through Llareggub: A Reading of Dylan Thomas’s Under Milk Wood Alan Peter Fear Porto Alegre: UFRGS, Instituto de Letras, 2012. 113p Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1. Literaturas de língua inglesa. 2. Literatura galesa. 3. Crítica literária. 5. Dylan Thomas 6. Under Milk Wood 4 ACKNOWLEDGEMENTS Firstly I would like to thank the Federal University of Rio Grande do Sul and PPG Letras for accepting me on this course and giving me this wonderful opportunity to study these two years on my Master’s Degree. My special thanks to José Canísio Scher of PPG- Letras for kind attention, patience and help. My thanks also to CAPES for the invaluable financial support in the form of the study scholarship I have received which has allowed me to dedicate a great part of my time to the research. -
Band Practice: Class, Taste and Identity in Ulster Loyalist Flute Bands
Ethnomusicology Ireland 1 (2011) 1 BAND PRACTICE: CLASS, TASTE AND IDENTITY IN ULSTER LOYALIST FLUTE BANDS By Gordon Ramsey Introduction Parading to fife and drum has been part of working-class culture in Ulster since the 1780s, when the practice was popularised by part-time military forces such as the Volunteers and Yeomanry. 1 The marching flute-band became the dominant musical ensemble in parades by the turn of the 20th century, when many bands were sponsored by the mass political movements, nationalist and loyalist, mobilised by successive Home Rule crises. Many loyalist bands at this time were supported by lodges of the Protestant fraternity, the Orange Order, and found most of their performance opportunities at Orange parades. Today, the situation is radically different, with the vast majority of loyalist bands being independent of the Order, and Orange parades forming a very small proportion of their activities. In 2010, loyalist marching bands are more numerous, more active, and more central to the lives of their members than they have ever been. The level of participation is extraordinary, with over 700 bands active within the six counties of Northern Ireland,2 and bands also flourishing in the border counties of the Irish Republic, and in western Scotland. Over half of the bands within Northern Ireland are flute bands, with accordion, pipe, and brass or silver bands making up the remainder (Witherow 2008:47-8). Every weekend (and 1 Illustrations in various media to accompany this essay are accessible at the online version of this journal www.ictm.ie. An earlier version of the paper was first presented orally at the 5th ICTM Ireland Annual Conference, ‘Ensemble/Playing Together’, Limerick, 26-28 Feb. -
The Material Value of Flags: Politics and Space in Northern Ireland
The Material Value of Flags: Politics and Space in Northern Ireland Bryan, D. (2018). The Material Value of Flags: Politics and Space in Northern Ireland. Review of Irish Studies in Europe, 2(1), 76-91. http://www.imageandnarrative.be/index.php/rise/article/view/1708 Published in: Review of Irish Studies in Europe Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 The Authors. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:27. Sep. 2021 The Material Value of Flags: Politics and Space in Northern Ireland Dominic Bryan In the first two decades of the twenty first century one of the most distinctive features of a tour around the streets of Belfast or Derry/Londonderry or the rural roads of Northern Ireland is the proliferation of flags hanging from lampposts, telegraph poles, or indeed almost any prominent point from which visibility can be profiled. -
Table of Contents Introduction
Table of Contents Introduction ............................................................................................................................... 3 Part One: Resistant and Conservative Welsh Spaces .............................................................. 9 Chapter One: Mapping the ‘Real’: The Spatial Turn, and Psychogeography in Wales ........... 9 The Spatial Turn ....................................................................................................................... 10 Geocriticism and Critical Literary Geography .......................................................................... 16 Post-Devolution Thirdspace ..................................................................................................... 28 Literary Geography and Literary Tourism in Wales ................................................................. 35 Chapter Two: ‘Going native’: Jan Morris and Devolutionary Wales ..................................... 44 Patriotism, Nationalism, and a Brief Note on Patagonia ......................................................... 49 Jan Morris and Utopia .............................................................................................................. 58 The Utopian Impulse ................................................................................................................ 65 Welsh Writing: Political and Literary Utopias .......................................................................... 71 Machynlleth: Capital of Utopian Wales ..................................................................................