In this dissertation, I will explore how 1990s and 2000s British, Irish and South Asian historical films represented the violent legacy of partition on the island of Ireland and in South Asia, respectively. I contend that a cross-regional and cross-national examination of the relationships between national memory, national cinema and minority will reveal that partition had a similar effect on Irish, South Asian and Northern Irish societies: the alignment of a normative national identity with a particular religious identity. This study will explore how key Irish, British and South Asian cinematic texts, despite being produced in disparate production contexts, similarly represent the brutal marginalization of gendered and religious minorities as a central legacy of partition. In my engagement with these films, I have two central areas of exploration. The first is how these films challenge state or majoritarian histories by presenting themselves as historical texts that correct the historical record. I will show how state histories (Michael Collins), majoritarian narratives (Hey!Ram), repressed gendered minority histories (Khamosh Pani, The Magdalene Sisters) and post-conflict narratives (Five Minutes of Heaven and Fiza) contest majoritarian or colonial histories. The second, and ancillary, area of exploration is how the international trauma film genre influences the films' respective representations of atrocity. I argue that trauma theory can help us understand minorities' relationship to the state and the ongoing impact of particular historical events on community and nation. To ground my comparative analysis, I draw from postcolonial theory, poststructuralism and trauma theory. In conclusion, I will contend that these films' minority figures remind us of the dangers of nationalism's limited imaginative boundaries and the role that cinema plays in helping us to think beyond its limitations.

本論文嘗試去了解一般性的族群理論,並對北愛爾蘭問題加以分析與解釋,以期對北愛爾蘭的族群衝突原因,民族自決如何落實,以及族群社會的政治穩定如何獲致等等能提供更有效的理解模式. / Northern Ireland is caught beteen war and peace.On the one hand, there is a widespread desire for a permanent end to violence, but on the other hand big political divisions continue to keep unionism and nationalism apart. The conflict in Northern Ireland has economic, political ,history, and cultural aspects.Otherwise,from the outset, the conflict in Northern Ireland has had an international dimension. Then this thesis goes on to show and assess how the British state offered for a resolution of the conflict.

<p>Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland.</p><p>The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes.</p><p>The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected.</p><p>This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.</p>

<p>This paper has two aims. The first aim is to study and describe the manifest ideology of the EU's social policy. The second aim is to analyse to what extent the manifest ideology might be a part of building a common European identity - by finding common solutions to commonEuropean problems (problems, more or less constructed as common). The research is a critical ideology analysis, made up of a qualitative text analysis of EU social policy documents and National strategy reports (NSR). I ask two questions. Firstly, which are the main features in the manifest ideology of EU social policy as described in the texts? Secondly, what picture of a European identity is visible when reading the EU social policy texts and the National Strategy Reports? I have found five main features of the manifest ideology. These revolve around: how the world and change in the world are described according to the EU; the mutual interaction between the Lisbon objectives and greater social cohesion; the creating of social cohesion; the importance of how policies are constructed and implemented and the EU's self-image. The texts offer either two quite different pictures with regards to the question of a European identity or ones that is partly incoherent. The analysed EU policy texts put across a picture of a uniform Europe, suggest that there is something genuinely European and a common European identity. However, the picture obtained when reading the NSRs and the collected picture of the EU policy texts and the NSRs is much less coherent. The paper argues that the manifest ideology could be a part of building a European identity, but it does not manage to prove that it actually is.</p>

In Live Ghosts, Patricia (Patty) Ireland offers a gathering of short stories based upon real life characters she encountered while growing up in the South. Exploring the diversity, complexity and moral ambiguity of those we might normally perceive as being stereotypically “Southern,” Ireland’s tales encompass a variety of time periods, settings, and characters, including: a modern-day family struggling to reconcile the reality of death, interracial lovers in the early 1950’s who are descended from masters and slaves, and an insane killer locked for life in a mental institution of the 1990’s. Live Ghosts is infused with tales of fear, love, loss, regret, madness, and self discovery, themes intrinsic not only to Southern culture, but to the universal vulnerability in all of us.

This thesis will present a key analysis and the results of our researchs on the tectonic behaviour, mainly by folding and shearing, and role, during Variscan deformation, of Waulsortian mudmounds in various sedimentary and tectonic settings of Western Europe, and particularly in Belgium, Brittany and Southern Ireland. In oder to modelise this behaviour and role, seven structural lithofacies from lenticular mudmounds to well-stratified calcareous-shaley series have been defined. By this way, our detailled maping and inventory of structures of deformation - included strain measurements of the elliptically deformed crinoidal osscicles in limestones and shales - in the ductile, brittle or shearing conditions of the Variscan deformations have allowed to define five principles of mechanical relations between these lithofacies. Two models of Waulsortian domain structuration, during the Asturian and Sudetian-II orgonenic phases, have been carried out following these principles. In both models, folding is the essential mode of tectonic structuration, eventually accompanied by shear zones and brittle structures of regional importance or due to local effects of the lithofacies anisotropies.

This thesis will present a key analysis and the results of our researchs on the tectonic behaviour, mainly by folding and shearing, and role, during Variscan deformation, of Waulsortian mudmounds in various sedimentary and tectonic settings of Western Europe, and particularly in Belgium, Brittany and Southern Ireland. In oder to modelise this behaviour and role, seven structural lithofacies from lenticular mudmounds to well-stratified calcareous-shaley series have been defined. By this way, our detailled maping and inventory of structures of deformation - included strain measurements of the elliptically deformed crinoidal osscicles in limestones and shales - in the ductile, brittle or shearing conditions of the Variscan deformations have allowed to define five principles of mechanical relations between these lithofacies. Two models of Waulsortian domain structuration, during the Asturian and Sudetian-II orgonenic phases, have been carried out following these principles. In both models, folding is the essential mode of tectonic structuration, eventually accompanied by shear zones and brittle structures of regional importance or due to local effects of the lithofacies anisotropies.

Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland. The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes. The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected. This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.

This paper concerns the ideas on society, policies and economic thoughts on Ireland before the cataclysmal famine of the 1840s. Senior, classified as one of the classical economists, elaborated these in the period 1829 – 1836, thus during the period of Parliamentary reform. As a trusted counsellor of the Whig governments, Senior advocated measures opposite to the common notions of laissez-faire. His basic ideas are contrasted to those of Malthus concerning economics and, in particular, the population doctrine that Senior never believed in and in its crudest form refuted. Senior regarded Malthus’ doctrine as devastating to governmental policies. Senior wanted an efficient and strong government. Moreover, Senior evolved ideas, in fact a strategy, for raising Ireland out of her common destitution instead of institutionalizing poor laws. This strategy embraced Catholic emancipation, education, public investments in infrastructure and emigration. His ideas, and proposals akin to Senior’s, are related to the political discourse of the day, which took a more common view of laissez-faire during the period considered. Nevertheless, there is consistency in his ideas on government, public investments and laissez-faire. Senior cannot be described as anything other than an early liberal and a classical economist and, hence, an advocator of economic laissez-faire. This paper underlines the need for a clear distinction between economic laissez-faire as a concept and the concept of political laissez-faire, whereas the former concerns thoughts on economics and the latter is related to the notion of the impassivity of the period of today’s discourse.

Questa tesi propone una lettura cumulativa della raccolta Responsibilities: Poems and a Play di William Butler Yeats, pubblicata per la prima volta nel 1914 e successivamente inclusa in un’opera di più ampio respiro nel 1916. Questa raccolta si colloca cronotopicamente in un contesto pubblico nel quale le dinamiche sociali irlandesi, tra la fine dell’Ottocento e gli anni venti del Novecento, erano al centro di forze indipendentiste ed in un contesto privato nel quale emerge il prolungato interesse, da parte del poeta, per la costituzione di un’etica pubblica come base per la creazione dell’indipendenza irlandese. Essa diviene, pertanto, una presa di coscienza da parte dell’autore del proprio ruolo di guida, non più solo poetica ma anche sociale, che avrebbe potuto accelerare il processo di riscoperta dell’identità irlandese come requisito fondamentale per l’indipendenza. / This thesis deals with the analysis of the collection Responsibilities: Poems and a Play by William Butler Yeats, published for the first time in 1914 and lately included in a wider collection in 1916. Responsibilities was conceived in a public context where the social dynamics in Ireland were subjected to contrasting forces, and in a private context in which the poet conceived the idea that only the constitution of a public ethic could have paved the way to the creation of an independent Irish state. For this reason, this collection can be considered as the beginning of a process of awareness by W. B. Yeats of his role, not only as a poet, in a social process that could have accelerated the rediscovery of the Irish cultural identity as an essential requirement for independence.