The fairy figure has had a long association with Ireland in popular cultural discourse. While often the source of children's fairy tales, their history in Ireland is far from kitsch. Their enduring association with the Irish has been one of adaptation in the face of colonialism and is linked to the land itself as well as Irish identity. The Gaelic Revival and emerging field of archaeology in the nineteenth century pulled from a strong tradition of myth and storytelling to craft a narrative of authentic Irishness that could resist the English culturally and spiritually. This paper explores the relationship between nationalism, landscape, and mythology that created a space that the fairy survived in as a product of colonial resistance and identity.

This thesis is divided into four chapters, the first of which is theoretical and synoptic. The method of chapter 1 is threefold. Firstly, an examination of the idea of the late career, including previous research on the subject, common perceptions and archetypes, and a consideration of the nature of artistic self-consciousness as it influences the late career. Secondly, a discussion of old age in literature, including the context of gerontology, our typically equivocal picture of old age as both decaying and spiritualized, and a consideration of the mode of creativity of the aged. Thirdly, an examination of literary "endings": the point at which the poet is faced with formal conclusions and "last things." A number of topics associated with or generated by the late career are considered, particularly the summational impulse, confrontation with death, and engagement with posterity: three perspectives supplied by the moment of ending. In the three chapters which follow, I examine the structure of the late careers of Hardy, Yeats and Stevens, in particular the points of crisis and self-renewal, and including in each case works which precede the final phase. The evolving attitude of each poet to old age is examined, and a number of topics which seem intrinsic to the late career: monumental intentions and their decay, the fate of the poet's work in posterity, the dividing of the mortal body from the poetic corpus, the old man's introjected sexuality, and the heightened dualism of old age. Finally, in each case the "final gestures" of the poet are considered: his attempts to confront the demands of the literary "ending. "

William Butler Yeats published the first section of the Autobiographies in 1915 with the appearance of Reveries Over Childhood and Youth and published the last contribution to the final volume of 1955 with Dramatis Personae in 1935. For a period of twenty years, Yeats was formulating this official version of his life. The constant building and selecting for this version created a volume that, for the most part, carefully edited out too personal reflections and also served to present an incomplete and disjointed autobiography.

Thesis (Ph. D.)--University of Tulsa, 1991. / Bibliography: leaves 190-196.

Diss.--Ulster; Univ., 2001.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1999. / Includes bibliographical references. Also available on the Internet.

1 score (viii, 79 p.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The Two Trees is a fifteen-minute musical composition for orchestra. Inspired by William Butler Yeats' poem of the same name, the piece depicts the images described by Yeats' poetic narrative through a double theme and variations form consisting of two contrasting themes that are related, one ascending and one descending. Each theme represents one of the two contrasting sections of the poem and is followed by a set of five variations for a total of ten. Since the rhyme scheme of each section of the poem is divided into five phrases of four lines, each musical variation corresponds to four lines of text. / Committee in Charge: David Crumb, Chair; Robert Kyr; Jack Boss

Submitted by TATIANA CAMACHO CHEREGATTO null (taticheregatto@gmail.com) on 2016-02-20T01:37:01Z No. of bitstreams: 1 Dissertação final.pdf: 2331480 bytes, checksum: ca47895978f20b5cf422aae38a0c22a9 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-02-22T20:28:30Z (GMT) No. of bitstreams: 1 cheregatto_tc_me_rcla.pdf: 2331480 bytes, checksum: ca47895978f20b5cf422aae38a0c22a9 (MD5) / Made available in DSpace on 2016-02-22T20:28:30Z (GMT). No. of bitstreams: 1 cheregatto_tc_me_rcla.pdf: 2331480 bytes, checksum: ca47895978f20b5cf422aae38a0c22a9 (MD5) Previous issue date: 2015-12-15 / Os refrigerantes são bebidas gaseificadas, obtidas através da diluição do suco ou extrato vegetal de sua origem em água potável, adicionada de açúcares. Devido ao elevado teor de açúcar neste produto e ao baixo pH, os refrigerantes tornam-se propícios ao desenvolvimento de microrganismos, em especial as leveduras. A contaminação microbiológica é mais comum na etapa de produção, entretanto, a maioria dos contaminantes pode ser proveniente de matérias-primas como água ou equipamentos quando não higienizados de maneira adequada. De acordo com o histórico de análises microbiológicas da Indústria BEBIDAS POTY Ltda, foram detectados alguns pontos de contaminação por leveduras dentro do fluxograma de produção, as quais têm apresentado certa resistência aos sanificantes utilizados. Desta forma o presente trabalho teve como objetivo isolar, identificar leveduras de matérias primas e diversos equipamentos da produção e avaliar o efeito inibitório dos sanificantes nas leveduras isoladas, buscando conhecer a eficácia dessas preparações. Neste estudo, foram isoladas 26 leveduras apenas da água de enxágue após o processo de higienização dos equipamentos de produção em todas as linhas de produtos carbonatados. Dentre as leveduras isoladas, os gêneros mais comuns foram Candida tropicalis, C. orthopsilosis, C. viswanathii, C. boidinii, Pichia manshurica, Zygosaccharomyces bisporus, sendo a espécie C. sojae a mais frequente. Os isolados foram testados na presença de 1) detergente alcalino clorado, 2) detergente alcalino não clorado, 3) desinfetante ácido peracético e 4) base ácida com ação de detergência/desinfetante de duas marcas comerciais identificadas como Marca I e Marca II, na perspectiva de encontrar a concentração mínima inibitória. Os agentes químicos de basicidade elevada com ação de limpeza foram os mais eficientes nos testes de inibição/crescimento e o menos eficazes foram os detergentes alcalinos contendo cloro sendo necessária a utilização de concentrações muito elevadas para atingir a concentração mínima inibitória. Os agentes químicos com ação de desinfecção demonstraram que as leveduras, foram muito sensíveis para os ácidos fortes oxidantes como o nítrico, peracético e gás O3. / Soft drinks are carbonated beverages, obtained by diluting the juice or vegetable extract in drinking water, added of sugars. Because of the high sugar content of this product and the low pH, the refrigerants are susceptible to development of microorganisms, in particular yeasts. Microbial contamination is most common in the production step, however, most of the contaminants can come from raw materials and equipment such as water when not cleaned properly. According to the history of microbiological analyzes of Industry DRINKS POTY Ltda, some points of contamination by yeasts were detected within the production flow chart, which have shown some resistance to the sanitizers used. Thus, the present study aims to isolate and identify yeast from raw materials and from various equipment and evaluate the inhibitory effect of sanitizers on yeasts. It was isolated 26 yeasts strains from rinse water after the process of cleaning production equipment in all lines of carbonated products. Among the yeasts, the most common genera were Candida tropicalis. C. orthopsilosis, C. viswanathii, C. boidinii, Pichia manshurica, Zygosaccharomyces bisporus, the most frequent species was C. sojae. The isolates were tested in the presence of 1) chlorinated alkaline detergent, 2) alkaline detergent non-chlorinated, 3) disinfectant peracetic acid and 4) acid based detergent with disinfectant action two trademarks identified as Marca I and Marca II with a view to find the minimum inhibitory concentration. Chemical agents with high alkalinity were the most efficient in inhibition of yeast growth the less effective was alkali detergent containing chlorine being necessary to use very high concentrations to achieve the minimum inhibitory action. The data showed that the yeasts were very sensitive, to oxidizers such as nitric acid, peracetic acid and O3 gas.

D.Litt. et Phil. / While the historical theory of W. B. Yeats’s A Vision (1925) has received proportionately more scholarly attention than other aspects of the system, the deeper theoretical principles that inform it have not been discussed or analysed sufficiently. Many prominent scholars of the Yeats’s corpus have rejected the need to study the system all together, while others have provided simplified accounts of the historical theory elucidated in Book IV “The Great Year of the Ancients” and Book V “Dove or Swan”. A detailed study of A Vision’s historical theory is sorely needed, as we know little of how it operates at a deeper theoretical level. This thesis approached this lack by elucidating the theoretical foundation that Yeats’s discussion of history in “Dove or Swan” is based on. This required an analysis of Yeats’s idiosyncratic use of the ancient Greek concept of the “Great Year”. Yeats’s elucidation of the “Great Year” derives its distinction from the Automatic Script, which the system of A Vision is based on. In the process, Yeats’s treatment of the evolution of the “Great Year” from Plato through Ptolemy to modern astrologers was discussed. This required a lengthy and thorough examination of the geometry that informs A Vision’s historical system. This geometric scheme is complex and requires careful consideration, for it is easy to confuse the movement represented in each figure. This study provides illustrations that are derived from Yeats’s descriptions of diagrams and from his instructions of how to interpret the movement that occurs within them. This results in diagrammatic representations that have never been utilised and analysed to such a comprehensive extent. A by-product of providing an extensive and comprehensive account of the geometry that informs the historical theory of A Vision is the emergence of a barely discussed, but very crucial, geometric and theoretical component of the historical system, the line of interacting periods. The line of interacting periods represents each historical period and event as being constituted by the Four Faculties; Will, Creative Mind, Mask and Body of Fate. In effect, this line allows for an analysis of the historical system that incorporates not only the Faculties but other theoretical components of the system of A Vision as well, which includes the twenty-eight phases of the Great Wheel and the strife between the primary and antithetical tinctures. When “Dove or Swan” is viewed from this theoretical perspective Yeats’s discussion of history reveals itself to be an application of the system’s fundamental tenets to four thousand years of European history. It tries, in this way, to maintain the internal cohesion of the system as a whole. Every historical event, period and figure signifies the fluctuating dominance of one tincture over the other. Yeats’s emphasis on the development of European aesthetics results in a discussion of movements that seeks to reveal the primary and antithetical components at work during any given period of European art. Yeats’s selective interest in European history and art suggests that “Dove or Swan” is not a complete discussion of the people and events that shaped modern Europe. From one point of view, it represents an amateur historian’s quest to find empirical justification for a theory that he claims to have gleaned from a supernatural source. Seen from another angle “Dove or Swan” represents poet’s effort to apply metaphors, meant for poetry, to empirical historical data.

Les êtres surnaturels ont toujours eu une place prépondérante dans le folklore irlandais. En effet, les mythes et légendes irlandais font référence à la banshee, au pooka, aux fantômes, sans parler de l’ubiquiteux leprechaun, par exemple. Dès sa fondation à la fin du XIXème siècle le Théâtre National Irlandais s’appuyait sur ce folklore et s’en inspirait, à l’instar de W.B. Yeats et de Lady Gregory. Cependant, depuis l’indépendance en 1922 ces références se font plus rares. Est-ce une évolution naturelle liée à l’essor du modernisme et du post-modernisme dans le monde ou y-t-il des raisons plus spécifiques, plus irlandaises ? / Supernatural beings have always played an important role in Irish folklore. Indeed, many myths and legends are peopled with ghosts and creatures such as the banshee, the pooka, and the ubiquitous leprechaun. This folklore proved to be a solid foundation for the Irish National Theatre from its very inception at the close of the nineteenth century, and an inspiration to several of its founding members, including W.B. Yeats and Lady Gregory. However, since independence in 1922, references to Irish folkore have become less and less common. Is this just a natural phenomenon due to the rise of modernism and post modernism? Or are there more specific, more Irish reasons for this evolution ?