Derry is the second largest city in Northern Ireland and has had a Catholic majority since 1850. It was witness to some of the most important events of the civil rights movement and the Troubles. Derry City examines Catholic Derry from the turn of the twentieth century to the end of the 1960s and the start of the Troubles. Plotting the relationships between community memory and historic change, Margo Shea provides a rich and nuanced account of the cultural, political, and social history of Derry using archival research, oral histories, landscape analysis, and public discourse. Looking through the lens of the memories Catholics cultivated and nurtured as well as those they contested, she illuminates Derry’s Catholics’ understandings of themselves and their Irish cultural and political identities through the decades that saw Home Rule, Partition, and four significant political redistricting schemes designed to maintain unionist political majorities in the largely Catholic and nationalist city. Shea weaves local history sources, community folklore, and political discourse together to demonstrate how people maintain their agency in the midst of political and cultural conflict. As a result, the book invites a reconsideration of the genesis of the Troubles and reframes discussions of the “problem” of Irish memory. It will be of interest to anyone interested in Derry and to students and scholars of memory, modern and contemporary British and Irish history, public history, the history of colonization, and popular cultural history.

The Troubles may have developed into a sectarian conflict, but the violence was sparked by a small band of leftists who wanted Derry in October 1968 to be a repeat of Paris in May 1968. Like their French comrades, Northern Ireland's 'sixty-eighters' had assumed that street fighting would lead to political struggle. The struggle that followed, however, was between communities rather than classes. In the divided society of Northern Ireland, the interaction of the global and the local that was the hallmark of 1968 had tragic consequences. Drawing on a wealth of new sources and scholarship, Simon Prince's timely new edition offers a fresh and compelling interpretation of the civil rights movement of 1968 and the origins of the Troubles. The authoritative and enthralling narrative weaves together accounts of high politics and grassroots protests, mass movements and individuals, and international trends and historic divisions, to show how events in Northern Ireland and around the world were interlinked during 1968.

"The archives of the Derry Journal -- the second oldest newspaper still in existence in Ireland -- include thousands of photographic images that document the extraordinary history of a community over half a century ... The images in this book represent a unique pictorial record of Derry during the 1950s and 1960s. This new photographic compilation tells the remarkable story of a place and its people in the years befor the outbreak of the Troubles ... The Derry Journal's photo archive is arguably the best visual history of twentieth-century Derry in existence."--P. [4] of cover.

In this new book, Liam Ó Duibhir charts the struggle for independence, both militarily and politically, in Donegal from before the events of Easter 1916 until the truce in 1921.Donegal has long been seen as one of the quietest counties during the War of Independence but this reputation belies an intriguing story of how republican sentiment grew in the county. From the first mention of Sinn Féin, through the conscription crisis and the success of the 1918 elections, Ó Duibhir charts the rise of the new political leadership in Donegal and how they built their own system of justice and local government.Alongside the practical politics, he also highlights the role of the IRB and the activities of the volunteers in resisting and thwarting the British efforts to retain control and impose order. Featuring new information and a fresh look at events of the period, The Donegal Awakening offers an updated account of this crucial period.

Set in Derry, Northern Ireland in the 1990s, Derry Girls is a candid, one-of-a-kind comedy about what it's like to be a teenage girl living amongst conflict. It's a time of armed police in armoured Land Rovers and British Army check points. But it's also the time of Murder She Wrote, The Cranberries, Salt-N-Pepa, Doc Martens and The X Files. And while The Troubles may hang over her hometown, Erin has troubles of her own, like the fact that the boy she's in love with (actually in LOVE with) doesn't know she exists. Or that her Ma and Aunt Sarah make her include her weirdo cousin Orla in everything she does. Or that head teacher Sister Michael refuses to acknowledge Erin as a literary genius. Not to mention the fact that her second best friend has ALMOST had sex, whereas Erin's never even kissed anyone yet. These are Erin's Troubles. Described by the Guardian as 'daft, profane and absolutely brilliant', by the New Statesman as 'pitch-perfect' and by i-D as 'the greatest show on British (and Irish) TV', Derry Girls has dazzled audiences for two series, with Channel 4's biggest UK comedy launch since 2004 and the biggest television series in Northern Ireland since modern records began. Now, this autumn, comes the first official tie-in. In the manner of the very best TV comedy books, Erin's Diary is a hilarious 'in world' publication that extends the laugh-out-loud humour of Derry Girls onto the page. With Erin's inner take on everything that has happened so far, this book will both dive deeper into the events we have seen unfold on the screen and unveil brand new stories and never-before-revealed details about characters. Complete with newspaper clippings, doodles, poetry, school reports, handwritten notes from her friends, and much much more, Erin's Diary is as warm, funny and brilliantly observed as the TV; a must-have for fans this Christmas. 'Erin is sixteen and wishes she had a boyfriend and a life. Nothing else really happens... It's boring.' Orla McCool

In the late 1960s and early 1970s, a civil war started in Northern Ireland. This book tells that story through Belfast and Derry, using original archival research to trace how multiple and overlapping conflicts unfolded on their streets. The Troubles grew out of a political process that mobilised opponents and defenders of the Stormont regime, and which also dragged London and Dublin into the crisis. Drawing upon government papers, police reports, army files, intelligence summaries, evidence to inquiries and parish chronicles, this book sheds fresh light on key events such as the 5 October 1968 march, the Battle of the Bogside, the Belfast riots of August 1969, the ‘Battle of St Matthew’s’ (June 1970) and the Falls Road curfew (July 1970). Prince and Warner offer us two richly-detailed, engaging narratives that intertwine to present a new history of the start of the Troubles in Belfast and Derry – one that also establishes a foundation for comparison with similar developments elsewhere in the world.

"Ending violent conflict requires societies to take leaps of political imagination. Artistic communities are often uniquely placed to help promote new thinking by enabling people to see things differently. In place of conflict’s binary divisions, artists are often charged with exploring the ambiguities and possibilities of the excluded middle. Yet, their role in peacebuilding remains little explored. This excellent and agenda-setting volume provides a ground-breaking look at a range of artistic practices, and the ways in which they have attempted to support peacebuilding – a must-read for all practitioners and policy-makers, and indeed other peacemakers looking for inspiration."Professor Christine Bell, FBA, Professor of Constitutional Law, Assistant Principal (Global Justice), and co-director of the Global Justice Academy, The University of Edinburgh, UK "Peacebuilding and the Arts offers an impressive and impressively comprehensive engagement with the role that visual art, music, literature, film and theatre play in building peaceful and just societies. Without idealizing the role of the arts, the authors explore their potential and limits in a wide range of cases, from Korea, Cambodia, Colombia and Northern Ireland to Uganda, Rwanda, South Africa and Israel-Palestine."Roland Bleiker, Professor of International Relations, University of Queensland, Australia, and author of Aesthetics and World Politics and Visual Global Politics "Peacebuilding and the Arts is the first publication to focus critically and comprehensively on the relations between the creative arts and peacebuilding, expanding the conventional boundaries of peacebuilding and conflict transformation to include the artist, actor, poet, novelist, dramatist, musician, dancer and film director. The sections on the visual arts, music, literature, film and theatre, include case studies from very different cultures, contexts and settings but a central theme is that the creative arts can play a unique and crucial role in the building of peaceful and just societies, with the power to transform relationships, heal wounds, and nurture compassion and empathy. Peacebuilding and the Arts is a vital and unique resource which will stimulate critical discussion and further research, but it will also help to refine and reframe our understanding of peacebuilding. While it will undoubtedly become mandatory reading for students of peacebuilding and the arts, its original approach and dynamic exploratory style should attract a much wider interdisciplinary audience."Professor Anna King, Professor of Religious Studies and Social Anthropology and Director of Research, Centre of Religion, Reconciliation and Peace (WCRRP), University of Winchester, UK This volume explores the relationship between peacebuilding and the arts. Through a series of original essays, authors consider some of the ways that different art forms (including film, theatre, music, literature, dance, and other forms of visual art) can contribute to the processes and practices of building peace. This book breaks new ground, by setting out fresh ways of analysing the relationship between peacebuilding and the arts. Divided into five sections on the Visual Arts, Music, Literature, Film and Theatre/Dance, over 20 authors offer conceptual overviews of each art form as well as new case studies from around the globe and critical reflections on how the arts can contribute to peacebuilding. As interest in the topic increases, no other book approaches this complex relationship in the way that Peacebuilding and the Arts does. By bringing together the insights of scholars and practitioners working at the intersection of the arts and peacebuilding, this book develops a series of unique, critical perspectives on the interaction of diverse art forms with a range of peacebuilding endeavours.