| 1 | The Material Value of Flags: Politics and Space in Northern… (10.32803/rise.v2i1.1708) | References ORCID License | 58.36 | 5 |
| 2 | Visualising Peace: Northern Irish Post-conflict Cinema and t… (10.32803/rise.v1i2.1426) | References ORCID License | 45.15 | 3 |
| 3 | The Role of Museums in Dealing with the Legacy of Conflict i… (10.32803/rise.v1i2.1432) | References ORCID License | 35.78 | 2 |
| 4 | But It Did Sink, You Understand What I Mean’: Topography of… (10.32803/rise.v1i2.1435) | References ORCID License | 35.78 | 2 |
| 5 | Cloth (10.32803/rise.v2i1.1702) | References ORCID License | 35.78 | 2 |
| 6 | Second Time Round: Fugal Memory in Ciaran Carson’s For All W… (10.32803/rise.2016.01.02) | Abstract References ORCID License | 30.10 | 1 |
| 7 | The Role of Museums in Dealing with the Legacy of Conflict i… (10.32803/rise.2017.02.04) | Abstract References ORCID License | 30.10 | 1 |
| 8 | The Material Value of Flags: Politics and Space in Northern… (10.32803/rise.2018.03.06) | Abstract References ORCID License | 30.10 | 1 |
| 9 | Introduction (10.32803/rise.2018.04.01) | Abstract References ORCID License | 30.10 | 1 |
| 10 | The Queer Transnational in Kate O’Brien and Elizabeth Bowen (10.32803/rise.v5i1.2962) | References License | 30.10 | 3 |
| 11 | 'Rory Gallagher's Leprechaun Boogie': Irish Stereotyping in… (10.32803/rise.v5i2.3099) | References License | 30.10 | 3 |
| 12 | Second Time Round: Fugal Memory in Ciaran Carson’s For All W… (10.32803/rise.v1i1.1240) | References ORCID License | 22.58 | 1 |
| 13 | ‘Living So Far from Words’: Intertextuality, Trauma and the… (10.32803/rise.v1i1.1243) | References ORCID License | 22.58 | 1 |
| 14 | Jimmy’s Hall, Irish Cinema and the Telling of History (10.32803/rise.v1i1.1261) | References ORCID License | 22.58 | 1 |
| 15 | ‘Absent and yet Somehow Present’: Idealized Landscapes and t… (10.32803/rise.v1i2.1438) | References ORCID License | 22.58 | 1 |
| 16 | Adrian Paterson ‘Stitching and Unstitching’: Yeats material… (10.32803/rise.v2i1.1720) | References ORCID License | 22.58 | 1 |
| 17 | ‘The Mind of the English Adversary Is Laid Bare’: Ernie O’Ma… (10.32803/rise.v2i2.1906) | References ORCID License | 22.58 | 1 |
| 18 | Irish Women Evicted: The Rural Home and the Gendered Politic… (10.32803/rise.v3i1.2227) | References ORCID License | 22.58 | 1 |
| 19 | (Not So) Safe Houses in Bram Stoker’s The Primrose Path (10.32803/rise.v3i1.2236) | References ORCID License | 22.58 | 1 |
| 20 | Hilton Edwards, Brecht and the Brechtian (10.32803/rise.v4i1.2622) | References License | 15.05 | 1 |
| 21 | Becoming a Gordon Craig: Micheál mac Liammóir and Edward Go… (10.32803/rise.v4i1.2637) | References License | 15.05 | 1 |
| 22 | Commedia dell’arte and the Gate Theatre (10.32803/rise.v4i1.2649) | References License | 15.05 | 1 |
| 23 | Opening Materials (10.32803/rise.v4i1.2700) | References License | 15.05 | 1 |
| 24 | 'I speak the language. I know how to be a woman here': Speak… (10.32803/rise.v4i2.2842) | References License | 15.05 | 1 |
| 25 | From a ‘Lass Kicker’ to ‘The Man’: WWE’s Irish Wrestler Beck… (10.32803/rise.v5i1.2965) | References License | 15.05 | 1 |
| 26 | ‘With Foolish Optimism We Thought It Was Just a Miss’: Marri… (10.32803/rise.v5i1.2968) | References License | 15.05 | 1 |
| 27 | Under the Sign of the Clock: Queer Time, AIDS Time and Clery… (10.32803/rise.v6i1.3160) | ORCID | 7.53 | 1 |
| 28 | Introduction (10.32803//rise.2018.03.01) | Abstract References ORCID License | 0.00 | 0 |
| 29 | Opening to Negotiations with the Past (10.32803/rise.2016.01.01) | Abstract References ORCID License | 0.00 | 0 |
| 30 | Introduction (10.32803/rise.2017.02.01) | Abstract References ORCID License | 0.00 | 0 |
| 31 | Visualising Peace: Northern Irish Post-conflict Cinema and t… (10.32803/rise.2017.02.02) | Abstract References ORCID License | 0.00 | 0 |
| 32 | The Contribution of Victims and Survivors to the Process of… (10.32803/rise.2017.02.03) | Abstract References ORCID License | 0.00 | 0 |
| 33 | But It Did Sink, You Understand What I Mean’: Topography of… (10.32803/rise.2017.02.05) | Abstract References ORCID License | 0.00 | 0 |
| 34 | ‘Absent and yet Somehow Present’: Idealized Landscapes and t… (10.32803/rise.2017.02.06) | Abstract References ORCID License | 0.00 | 0 |
| 35 | Memory, Trauma and Forgetting in Northern Irish Drama (10.32803/rise.2017.02.07) | Abstract References ORCID License | 0.00 | 0 |
| 36 | ‘He’s at the Crucial Age’: The Performance of Masculinity in… (10.32803/rise.2017.02.08) | Abstract References ORCID License | 0.00 | 0 |
| 37 | ‘Does Your Heart Ache with the Truth of the Past?’: Victims… (10.32803/rise.2017.02.09) | Abstract References ORCID License | 0.00 | 0 |
| 38 | Review Section (10.32803/rise.2017.02.10) | Abstract References ORCID License | 0.00 | 0 |
| 39 | 1916 and Other Risings: John Ford’s 'The Plough and the Star… (10.32803/rise.2018.03.02) | Abstract References ORCID License | 0.00 | 0 |
| 40 | Postcards (10.32803/rise.2018.03.03) | Abstract References ORCID License | 0.00 | 0 |
| 41 | Cloth (10.32803/rise.2018.03.04) | Abstract References ORCID License | 0.00 | 0 |
| 42 | Around the sieve. Motif, Symbol, Hermeneutic (10.32803/rise.2018.03.05) | Abstract References ORCID License | 0.00 | 0 |
| 43 | Reknitting communities: Rita Duffy’s vital gestures (10.32803/rise.2018.03.07) | Abstract References ORCID License | 0.00 | 0 |
| 44 | ‘What’s far fetch’d, and dearly bought’: The Politics of Clo… (10.32803/rise.2018.03.08) | Abstract References ORCID License | 0.00 | 0 |
| 45 | Poetic Industry: The Modernity of the Rhyming Weavers (10.32803/rise.2018.03.09) | Abstract References ORCID License | 0.00 | 0 |
| 46 | ‘Stitching and Unstitching’: Yeats material and immaterial (10.32803/rise.2018.03.10) | Abstract References ORCID License | 0.00 | 0 |
| 47 | ‘A Thread to the Afterlife’ - Textiles and the Otherworld in… (10.32803/rise.2018.03.11) | Abstract References ORCID License | 0.00 | 0 |
| 48 | ‘These shirts I borrow from the Finnish’: the Kanteletar and… (10.32803/rise.2018.03.12) | Abstract References ORCID License | 0.00 | 0 |
| 49 | Penelope in Three Movements: A Reading of Dorothy Molloy’s ‘… (10.32803/rise.2018.03.13) | Abstract References ORCID License | 0.00 | 0 |
| 50 | ‘So am I detached / From the fabric which claims me’ Women,… (10.32803/rise.2018.03.14) | Abstract References ORCID License | 0.00 | 0 |