Abstract. In this paper we provide an account of the property-led boom and bust which has brought Ireland to the point of bankruptcy. Our account details the pivotal role which neoliberal policy played in guiding the course of the country's recent history, but also heightens awareness of the how the Irish case might, in turn, instruct and illuminate mappings and explanations of neoliberalism's concrete histories and geographies. To this end, we begin by scrutinising the terms and conditions under which the Irish state might usefully be regarded as neoliberal. Attention is then given to uncovering the causes of the Irish property bubble, the housing oversupply it created, and the proposed solution to this oversupply. In the conclusion we draw attention to the contributions which our case study might make to the wider literature of critical human geographies of neoliberalism, forwarding three concepts which emerge from the Irish story which may have wider resonance, and might constitute a useful fl eshing out of theoretical framings of concrete and particular neoliberalisms: path amplifi cation, neoliberalism's topologies and topographies, and accumulation by repossession.

In this paper, we argue that new social media produces new forms of public geography and digital praxis in which the relationship between reader and writer is radically altered and which enables geographers to engage in timely conversation and debate with the public on unfolding issues, and provides new avenues to connect with older forms of broadcast media. Social media can strengthen geographers engagement with the existing fourth estate and forge new relationships with an emerging fifth estate – dynamic, responsive and empowered publics. We illustrate such potentials by drawing on our own experiences of contributing to IrelandAfterNAMA, a collective blog that provides critical analysis of the present crisis in Ireland which has established a regular readership and has led to significant media work (over 500 newspaper articles and radio and television interviews). Such public geography projects are not without their challenges and pitfalls, not least because they alter and challenge the ways in which academics work, communicate and are assessed. Nevertheless, we believe that at the very least their quotidian practices enact what Macgilchrist and Bőhmig (2012: 97) term ‘minimal politics’, creating ‘tiny fissures in the mediascape’ that inform and engage with wider publics in ways that academic articles rarely do and work to challenge hegemonic formations.

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a b s t r a c tThis paper argues that the global economic recession provides an instructive point to reconsider recent theorisations of post-politics for two reasons. First, theories of the post-political can help us to understand the current neoliberal impasse, and second, current transformations provide us with an empirical basis to test the limits of these explanatory frameworks. While the resurgence of neoliberal policies, evidenced through the state-sponsored rescue of the financial sector and the introduction of harsh austerity measures in many countries, appear to confirm post-politics, various protest movements have testified to a concurrent re-politicisation of the economy. Furthermore, crises constitute periods of disruption to the discursive and symbolic order, which open a space for hegemonic struggle, however fleeting. We focus our analysis on Ireland's 'ghost estates' e residential developments left abandoned or unfinished after the property crash e and their treatment within mainstream print media. We argue that in the context of crash, the 'ghost estate' functioned as an 'empty signifier' through which hegemonic struggles over how to narrate, and thus re-inscribe, the event of the crisis were staged. We explore the double role played by 'ghost estates': firstly, as an opening for politics, and secondly, as a vehicle used to discursively contain the crisis through a neoliberal narrative of 'excess'. We argue that our analysis offers an instructive example of how post-politicisation occurs as a process that is always contingent, contextual, and partial, and reliant on the cooption and coproduction of existing cultural signifiers with emergent narrations of crisis.

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