Mark Fitzgerald – författare

Learn the tools and techniques you need to start making ceramic mugs, bowls, and more!Step-by-step instructions complete with color photographsIncludes a chapter on bisque firing, waxing, and glazing4 basic pottery projects for the beginning potterThe art of pottery making is described in detail for the beginning potter. Complete with a chapter on tools and materials to get started, this easy-to-use guide explains and illustrates how to wedge clay, use a pottery wheel, shape and trim pots, determine clay thickness, add handles, and a host of other pottery-making techniques. It also contains a chapter on bisque firing and glazing, the final steps in creating beautiful and functional pottery. Includes complete instructions for making a large bowl, three styles of mugs, and a sugar bowl and creamer set.

Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold