This paper underlines the importance of an incorporation of visual methodology into the study of transitional justice.
It makes an argument for that through the assessment of visual displays on the peace walls as commemoration space in Northern Ireland, relating the reflections of the local transitional justice process to reconciliation in the country.
Transitional justice uses a combination of judicial and non-judicial means to achieve its goal. Typically, there are five tools that can be used in a transitional justice process. They include institutional reform, truth, reparations, amnesties or prosecutions and reconciliation. While all can be important, tools are usually tailored individually for different transitional societies.
While this paper underlines the importance of an incorporation of visual methodology into the study of transitional justice and makes an argument for that through the assessment of the peace walls as commemoration space in Northern Ireland, it can only be a starting point. Studying reconciliation through the visual analysis of space in transitional societies can be an important tool for transitional justice and this paper makes an argument for more integration of it into the field.
Table of Contents
1. Abstract
2. Introduction
3. Literature Review
4. Analysis of the Peace Walls as Commemoration Space in Northern Ireland
4.1 The Transitional Justice Process in Northern Ireland
4.2 Analysis of the Peace Walls as Commemoration Space in Northern Ireland: Methodology
4.3 Analysis of the Peace Walls as Commemoration Space in Northern Ireland: Pictures
4.3.1 Picture One: “You are now in loyalist Tiger’s Bay”, 1994 by Freddie Quinn
4.3.2 Picture Two: “Peace line by Lanark”, October 1998, Cathy Gormley
4.3.3 Picture Three: “Peace line”, May 2000, Martin Melaugh
4.3.4 Picture Four: “Streets Apart”, 2002, Frankie Quinn
4.3.5 Picture Five: “Towards 2023”, 2010, Frankie Quinn
4.4 Analysis of the Peace Walls as Commemoration Space in Northern Ireland: Summary
5. Conclusion
Research Objectives & Themes
The primary objective of this research is to evaluate the effectiveness of the transitional justice process in Northern Ireland by examining visual changes in the commemoration spaces of the city's "peace walls." The central research question explores how visual displays in these contested spaces reflect the ongoing reconciliation efforts, social memory, and political evolution from 1994 to 2010.
- Integration of visual methodology into transitional justice studies
- Role of commemorative spaces and physical barriers in post-conflict societies
- Evolution of social memory reflected through street art, graffiti, and visual displays
- Bottom-up assessment of reconciliation success beyond judicial processes
- Geopolitical significance of space and memory in Northern Ireland
Excerpt from the Book
Picture One: “You are now in loyalist Tiger’s Bay”, 1994 by Freddie Quinn
The armistice between the paramilitary groups in 1994 marks the begin of the transitional justice process. The photograph above has been shot by Freddie Quinn who took the occasion to portray the state of the peace lines in that year and presented his work in a book. His photographs are seen as highly influential, had the purpose of depicting everyday life and added to the societal debates about the interface areas and have therefore been shaping the perception of the walls. They are artistic work though, are therefore kept in black and white and are subjective. To keep the analysis as objective as possible, I will not elaborate on the style of the picture but simply on the visual elements and displays surrounding the peace lines.
Overall, the picture depicts a rather poor housing area, abandoned by public spending and unattractive to renters. The inhabitants of the houses next to the peace walls have been the victims of daily assault and regular attacks from paramilitaries and citizens on the other side of the wall, their houses have been the most attacked during the troubles and they have experienced the most casualties. This poverty is also depicted in Quinn’s other photographs provided in this paper. The walls are acting as an obstacle in space and a visual element separating the two competing sides in the still ongoing conflict. They are a physical and symbolic site of inclusion and exclusion.
There is an armed man in the picture. That is typical only at the cross points of the walls at that point of time due to the frequent attacks at those crossings. As there is no military portrayed in the other photographs of that time, I will not include his presence in the analysis of the wall.
Chapter Summaries
Abstract: Provides an overview of the paper's aim to incorporate visual methodology into transitional justice through the assessment of Northern Ireland's peace walls.
Introduction: Defines transitional justice and establishes the research gap regarding the role of visual displays and commemoration spaces in post-conflict societies.
Literature Review: Discusses existing theories on space and politics, arguing that visual and spatial approaches are currently undervalued in traditional transitional justice scholarship.
Analysis of the Peace Walls as Commemoration Space in Northern Ireland: Examines the political context, methodology, and empirical analysis of five specific photographic representations of the peace walls between 1994 and 2010.
Conclusion: Synthesizes the research findings, confirming that while visual displays track changes in social experience, they also highlight the persistent challenges in achieving full reconciliation.
Keywords
Transitional Justice, Northern Ireland, Peace Walls, Visual Methodology, Social Memory, Commemoration Space, Reconciliation, The Troubles, Conflict, Geopolitics, Belfast, Murals, Semiology, Post-Conflict, Peace Process
Frequently Asked Questions
What is the core focus of this research?
This research focuses on analyzing the visual expressions on the peace walls in Belfast to assess the progress of the transitional justice process in Northern Ireland.
What are the primary themes of the work?
The work centers on the intersection of transitional justice, critical geopolitics, and visual methodology to evaluate post-conflict societal memory.
What is the main research question?
The question driving the study is: "How do visual displays in commemoration spaces reflect the transitional justice process in Northern Ireland?"
Which scientific methodology is employed?
The author employs a qualitative semiological analysis of photographs taken of the peace walls to interpret visual changes as reflections of social memory.
What topics are covered in the main body?
The main body provides a historical overview of the Northern Irish conflict, a literature review on space in international relations, and a detailed analysis of five photographs representing the evolving nature of the peace walls from 1994 to 2010.
How is the research characterized by its keywords?
It is characterized by terms such as visual methodology, reconciliation, social memory, and peace walls, which emphasize the study's interdisciplinary approach to post-conflict analysis.
Why are the peace walls considered a valid site for this analysis?
The peace walls are seen as contested memorial spaces that physically represent the division and the subsequent shifts in the social and political landscape since the Good Friday Agreement.
What does the author conclude about the state of reconciliation in 2010?
The author concludes that while visual displays show a shift toward more neutral and peace-oriented messages, the walls remain essential security features, reflecting ongoing divisions and a lack of total societal reconciliation.
- Citation du texte
- Anonym (Auteur), 2018, Visual Reconciliation in Transitional Societies, Munich, GRIN Verlag, https://www.grin.com/document/448567
