Ancient Order of Hibernians
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Young Citizen Volunteers 10Th September 1912 the Young Citizen Volunteers
Young Citizen Volunteers 10th September 1912 The Young Citizen Volunteers Introduction Lance-Corporal Walter Ferguson , aged 24, of 14th Royal Irish Rifles died (according to the website of the Commonwealth War Graves Commission) on 8 July 1916, although the marble tablet erected in All Saints Parish Church, University Street, Belfast, by his sorrowing father states he was ‘killed in action on 1 July 1916’. It seems very probable that he died a slow and possibly painful death from wounds sustained on 1 July and in captivity because he is buried in Caudry Old Communal Cemetery which was then in German-held territory. Walter’s family did not learn of his death immediately. They sought news of him in the Belfast Evening Telegraph of 18 July 1916: No news has been received regarding L’ce Corporal Walter Ferguson (14596) YCVs since before the Big Push and his relatives, who reside at 2 Collingwood Road, Belfast, are very anxious about him and would be grateful for any information. In civil life he was a bookbinder … News from the Front often trickled home agonizingly slowly. For example, the Northern Whig of 27 July 1916 reveals another Belfast family anxious to learn the fate of their son, also a lance-corporal in 14th Royal Irish Rifles and a member of the YCV: Revd John Pollock (St Enoch’s Church), 7 Glandore Park, Antrim Road, will be glad to receive any information regarding his son Lance-corporal Paul G Pollock, scout, Royal Irish Rifles (YCV), B Company, who had engaged in the advance of the Ulster Division on 1st July last, and has been ‘missing’ since that date. -
Statute Law Revision Act 2012 ———————— Arran
Click here for Explanatory Memorandum ———————— Number 19 of 2012 ———————— STATUTE LAW REVISION ACT 2012 ———————— ARRANGEMENT OF SECTIONS Section 1. Definitions. 2. General statute law revision repeal and saver. 3. Specific repeals. 4. Assignment of short titles. 5. Miscellaneous amendments to short titles. 6. Savings. 7. Amendment of Adaptation of Enactments Act 1922. 8. Short title and collective citations. SCHEDULE 1 ACTS SPECIFICALLY RETAINED PART 1 Irish Private Acts 1751 to 1800 PART 2 Private Acts of Great Britain 1751 to 1800 PART 3 United Kingdom Private Acts 1801 to 1922 PART 4 United Kingdom Local and Personal Acts 1851 to 1922 1 [No. 19.]Statute Law Revision Act 2012. [2012.] SCHEDULE 2 ACTS SPECIFICALLY REPEALED PART 1 Irish Private Acts 1751 to 1800 PART 2 Private Acts of Great Britain 1751 to 1800 PART 3 United Kingdom Private Acts 1801 to 1922 PART 4 United Kingdom Local and Personal Acts 1851 to 1922 ———————— Acts Referred to Adaptation of Charters Act 1926 1926, No. 6 Adaptation of Enactments Act 1931 1931, No. 34 Adaptation of Enactments Act 1922 1922, No. 2 Constitution (Consequential Provisions) Act 1937 1937, No. 40 Drainage and Improvement of Lands Supplemental Act (Ireland) 1868 31 & 32 Vict., c. clvii Drainage and Improvement of Lands Supplemental Act (Ireland) 1868 31 & 32 Vict., c. clviii Drainage and Improvement of Lands Supplemental Act (Ireland) 1873 36 & 37 Vict., c. xv Interpretation Act 2005 2005, No. 23 Local Government Act 2001 2001, No. 37 Lough Swilly and Lough Foyle Reclamation Acts Amend- ment 1853 16 & 17 Vict., c. lxv Short Titles Acts 1896 to 2009 Statute Law Revision Act 2007 2007, No. -
Belfast Leases, Lord Donegall, and the Incumbered Estates Act, 1849*
342 Northern Ireland Legal Quarterly [Vol. 56, No. 3] BELFAST LEASES, LORD DONEGALL, AND THE INCUMBERED ESTATES ACT, 1849* C.E.B. Brett Introduction Lawyers, and in particular solicitors, have in the past been notoriously reluctant to part with or destroy deeds, documents, papers and files which ‘might one day come in useful’. For this reason, they have been for centuries invaluable as preservers of archives, especially title-deeds, wills, probates, and court pleadings – more so as most such documents had for centuries been laboriously written out in ink by scriveners on parchment or durable paper. Today, photocopiers, computers, faxes, and emails have generated such enormous problems of storage that practitioners now shred the majority of documents every few years. When, in 1953, as a young solicitor aged twenty-five, I was taken into partnership in the family firm of L’Estrange & Brett by my father and grandfather, problems of storage had already reached uncomfortable proportions. I was the sixth generation; the firm had been founded (as Ramsay & Garrett) in the last years of the eighteenth century. The attics and roof-space (not to mention the narrow but capacious strong-room) of the offices at no. 9 Chichester Street, Belfast, which the firm had occupied since 1886, were packed with piles and boxes of old documents, leaving no room for more. I was told that there had been a mild tidy-up in 1917, for fear of zeppelin raids; and another in 1939, for fear of air raids; but nothing else. To make matters worse still, next door, the basement of no. -
Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983). -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television. -
Copyright by Joseph Paul Moser 2008
Copyright by Joseph Paul Moser 2008 The Dissertation Committee for Joseph Paul Moser certifies that this is the approved version of the following dissertation: Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film Committee: ____________________________ Elizabeth Butler Cullingford, Co-Supervisor ____________________________ Neville Hoad, Co-Supervisor ____________________________ Alan W. Friedman ____________________________ James N. Loehlin ____________________________ Charles Ramírez Berg Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film by Joseph Paul Moser, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 For my wife, Jennifer, who has given me love, support, and the freedom to be myself Acknowledgments I owe many people a huge debt for helping me complete this dissertation. Neville Hoad gave me a crash course in critical theory on gender; James Loehlin offered great feedback on the overall structure of the study; and Alan Friedman’s meticulous editing improved my writing immeasurably. I am lucky to have had the opportunity to study with Charles Ramírez Berg, who is as great a teacher and person as he is a scholar. He played a crucial role in shaping the chapters on John Ford and my overall understanding of film narrative, representation, and genre. By the same token, I am fortunate to have worked with Elizabeth Cullingford, who has been a great mentor. Her humility, wit, and generosity, as well as her brilliance and tenacity, have been a continual source of inspiration. -
Town Records
CARRICKFERGUS TOWN RECORDS Short Calendar for Researchers A Note to the Reader The following is a descriptive listing of the contents of the volumes held by Carrickfergus Museum pertaining to the town’s records from the eighteenth century on. It is anticipated that it be used as a starting point for researchers wishing to investigate the town’s municipal past; however, it is not suitable as a wholesale replacement for consulting the documents themselves. It is not entirely clear what happened to the earlier material; clearly it existed in some form as Richard (Dean) Dobbs made a copy in 1785, but by 1786 the committee set up for the purpose of compiling an updated catalogue complained they had to rely on the catalogue of 1738, as a number of original documents were ‘lost or mislaid’. (TR/03). However, there does not seem to be much overlap between the reported missing documents (leases etc) and the contents of Dean Dobbs’ Records of Carrickfergus, as copied from the old books of records which is altogether more colourful and can be consulted in typescript at Carrickfergus Library. The concern for the town’s records seen in the 1780s marks a gradual shift towards a professional approach to those same records and indeed to the work of administering the borough as a whole. This trend accelerates throughout the nineteenth century and is demonstrated within the records by references to staff salaries, finances, uniforms, the regularisation of meeting times and locations, and increased concern with the security of items relating to the town’s administration, including valuable objects such as the mace and sword. -
23Rd July to 3Rd August 2015
23RD JULY TO 3RD AUGUST 2015 2015 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Ireland’s first annual cross-border arts event Donegal, Welcome to Friel Country (Aug 20-26 ROI) Belfast, Here I Come! (Aug 26-31 NI) COMING SOON PRINCIPAL FUNDER Ireland’s first annual cross-border arts festival IDonegal,reland’s Welcome first ann toua Friell cro Countryss-borde (Augr art s20-26 even ROI)t Donegal, Welcome to Friel Country (Aug 20-26 ROI) Ireland’s first annual cross-border arts event Belfast, Here I Come! (Aug 27-31 NI) Donegal, Welcome to Friel Country (Aug 20-26 ROI) B elfast, Here I Come! (Aug 26-31 NI) Belfast, Here I Come! (Aug 26-31 NI) A new Happy Days EIBF BioFestival www.lughnasainternationalfrielfestival.com Front Cover Illustration: Samuel Beckett by George Tabori. Kind permission of The Berliner Ensemble DOS A DEUX 2ND ACT (FRANCE) CONTENTS starting from page IRISH PREMIER Location: HIG HArdhowenLIGHTS Theatre Krapp’s Last Tape (1958), a one act play6 Date: Wed 6. August & originally titled the ‘Magee Monologue’, was Thu 7. August inspired by the Northern Irish actor Patrick Time: 8.00pm Magee whose voice and ‘banana walk’ THEATRE Beckett admired. Considered by many as14 Price: £18 / £16 Beckett’s most ‘perfect’ play, the 69 year Duration: ca. 75mins old Krapp listens and interjects with his UK & IRELAND PREMIERE taped 39 year old self, tenderly and scoffing. MUSIC 26 The play recalls Krapp’s early love, some Krapp - Klaus Maria Brandauer Director - Peter Stein think modeled on Beckett’s early love of his cousin Peggy Sinclair whom he spent time WAT - WRITER & ARTISTS TALKS 30 In German language with in Kassel, Germany in 1928.* The play’s with EnglishREA surtitlesDINGS 15 title intimates that this will also be the last tape Krapp will record. -
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett Audiovisual Material, Circa 1965-1993
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Reilly, John, 1939-2013. Title: John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Call Number: Manuscript Collection No. 1336 Extent: 2 linear feet (2 boxes), AV Masters: 23 linear feet (24 boxes) Abstract: Audiovisual materials created by John Reilly for his documentaries Waiting for Beckett (1994) and Peephole Art-Beckett For Television (1994). Language: Some materials in English and French. Administrative Information Restrictions on Access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source gift, 2015 Citation [after identification of item(s)], John Reilly Samuel Beckett audiovisual material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Manuscript Collection No. 1336 Processing Unarranged collection, described at the file level by Laura Starratt, 2015. This finding aid may include language that is offensive or harmful. -
For More Than Seventy Years the Horror Film Has
WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans. -
David Lean: DR. ZHIVAGO (1965, 197 Min.)
March 12, 2019 (XXXVIII:7) David Lean: DR. ZHIVAGO (1965, 197 min.) DIRECTOR David Lean WRITING Robert Bolt screenplay adapted from the Boris Pasternak novel PRODUCER Carlo Ponti MUSIC Maurice Jarre CINEMATOGRAPHY Freddie Young EDITING Norman Savage PRODUCTION DESIGN John Box ART DIRECTION Terence Marsh SET DECORATION Dario Simoni COSTUME DESIGN Phyllis Dalton The film permeated the 1966 Academy Awards, winning Oscars for Best Writing, Screenplay Based on Material from Another Medium (Robert Bolt), Best Cinematography, Color (Freddie Young), Best Art Direction-Set Decoration, Color (John Box, Terence Marsh, and Dario Simoni), Best Costume Design, Color (Phyllis Dalton), and Best Music, Score (Maurice Jarre). The Mark Eden...Engineer at Dam film also received Oscar nominations for Best Picture (Carlo Erik Chitty...Old Soldier Ponti), Best Actor in a Supporting Role (Tom Courtenay), Best Roger Maxwell...Beef-Faced Colonel Director (David Lean), Best Sound (A.W. Watkins, Franklin Wolf Frees...Delegate Milton), and Best Film Editing (Norman Savage). The film was Gwen Nelson...Female Janitor also nominated for the Cannes Palm d’Or. Lucy Westmore...Katya Lili Muráti...The Train Jumper (as Lili Murati) CAST Peter Madden...Political Officer Omar Sharif...Yuri Julie Christie...Lara DAVID LEAN (b. March 25, 1908 in Croydon, Surrey, England, Geraldine Chaplin...Tonya UK—d. April 16, 1991 (age 83) in London, England, UK) was Rod Steiger...Komarovsky an English film director (19 credits), producer, screenwriter (10 Alec Guinness...Yevgraf credits) -
CONNEMARA Galway
CONNEMARA Galway Vol. XII — No. 144 Spanish Armada Memorial Centre Grange and Armada Development Association Grange, Sligo | Old Courthouse (green doors) At Ireland Ascending we have written extensively about the local, national, and international efforts in recovering the shipwrecks at Streedagh Beach. As Irish American children, myself & my siblings first heard of the ‘legend’ of Armada shipwrecks somewhere off the Sligo coastline — from my county Sligo born immigrant mother, Bridget Hannon (Ó hAnnáin). In 1985, that legend became Fact. In 2015, both siege & ships cannons were raised from the La Juliana (Spain). Resting nearby are the La Lavia (Venice) and the La Santa María de Visón (Sicily), neither of which have yet given up their secrets (all 3 were mediterranean merchant ships pressed into service by King Philip II). The Spanish Armada was not defeated by England, but by a great storm (1588) of the Wild Atlantic Way that carried one ship to Norway and two to Scotland. Ireland’s west coast counties Donegal, Sligo, Mayo, Galway, Clare and Kerry have 28 known Armada shipwrecks — with others further off the coastline deep in the Atlantic. Year 2020: View Event & Spain’s Ambassador to Ireland Ildefonso Castro’s comments which were held online for Covid-19 reasons: https://youtu.be/EMpQb3uuYQo Year 2015: View a La Juliana Cannon recovery here: https://youtu.be/a_6nxyarrog Eddie O’Gorman chair has invited noted guests from abroad to Grange for annual visits. The Memorial museum will be reopening in early July. Credit also to Cllr. Marie Casserly and Sligo County Council. For more visit www.SpanishArmadaIreland.com ©MMXXI Ken Hannon Larson, Ireland Ascending.com The Quiet Man Movie Off - The - Set Photos Recently the National Museum Of Ireland received “negative glass plates” taken by an unknown professional photographer in Cong, Co.