1984 -- No. 03 -- Spiritans Today -- Spiritan Formation -- CONTENTS -- Presenting This Issue: On Spiritan Formation - Research and Animation Centre -- (pg 5) -- I - Spiritan Formation in Certain Provinces and Foundations, Introduced by the Respective Formation Personnel -- (pg 7) -- 1) Ireland -- (pg 7) -- 2) Portugal -- (pg 10) -- 3) France -- (pg 13) -- 4) Nigeria -- (pg 18) -- 5) Poland -- (pg 20) -- 6) Canada -- (pg 23) -- 7) Trans-Canada -- (pg 27) -- 8) Reflections of a European Formation Director in Africa -- (pg 28) -- 9) Central African Foundation -- (pg 30) -- 10) Puerto Rico -- (pg 33) -- II - Thoughts on Formation, by Fr Norman Bevan, General Councillor with Responsibility for Formation -- (pg 35) -- III - Inquiry Among the Young Members in Formation : " As a young Spiritan, say what seems to you, from your experience of Spiritan life, fundamental in your Spiritan commitment today". — Fr Alphonse Gilbert, C.S.Sp -- (pg 51) -- 1) Recurring Themes in the Replies -- (pg 52) -- 2) Some Samples of the Most Common Reflections -- (pg 55) -- 3) What, then, Seems to You Fundamental in Spiritan Commitment Today? -- (pg 63) -- a) Holiness is Fundamental -- (pg 63) -- b) Religious Life is Fundamental -- (pg 66) -- c) Community Life is Fundamental -- (pg 70) -- d) Apostolic Life is Fundamental -- (pg 73) -- IV - Afterword, by Father General -- (pg 83)

This thesis attempts to read ¡§Circe¡¨from Freudian perspectives to explore Joyce's narrative intermingling of psychical and historical worlds. It begins with an analysis of the haunting theme in this chapter,the dead, which constantly returns in¡§fantastic scenes,¡¨ followed by an elaboration on the way the ¡§Uncanny¡¨and the¡§Phantasy¡¨operate in each scene. These fantastic scenes,for me,function as signifiers for the unconscious of Joyce's characters and text:they express,abnegate, ridicule,exaggerate,and even betray the psyche of the two male protagonists¡Xespecially Bloom's castration complex¡Xand leads to a narrative and character aberration,allowing Joyce to repudiate the tradition of drama and novel, especially the English narrative convention of linear storytelling. By constructing a fantastic Ireland through crooked mirroring,Joyce becomes not only an international writer, but also an Irish writer.

Although many critics, and Eavan Boland herself, have written about how her poetry functions to reclaim the Irish feminine image from its static position as lyric representation of the nation, much remains to be said about how Boland represents and reimagines Ireland in her poetry. Using the metaphor of cartography, which Boland frequently refers to in her writing, I argue that she lyrically "maps" the nation across space, time, and language. Her palimpsestic poetic maps of Ireland include what a mere pictorial representation could never, and what prior male-written poetry never did, show: the space of a Dublin suburb, the history of her marriage, the mental scarring of an imposed English language represented as physical fractures on skin or land. Her own subjectivity is the most important component of this map, and so she liberally inserts fragments of her own life into pre-existing national narratives. Through close readings of poems published between 1990 and 2007, I explore how Boland mixes national history, geography, family stories, and memories of her own life to arrive at a poetic "structure extrinsic to meaning which uncovers / the inner secret of it" (ITV 47). This is not a truth about history, nor merely a declaration that women, particularly Irish women, have been silenced in poetry and history. Instead, the inner secret is her own recognition of the connection between herself and the women of whom she writes, as well as her readers; that the framework she builds from pieces of the past provides a way to understand our current selves. Boland remains conscious of the constructed nature of this framework in each poem where she challenges official narratives and maps of the nation, replacing their truth with her own. She loads specific places, histories, and uses of language, as well as the ideas of these things themselves, with complex and even contradictory meanings. Her poems represent not the truth but a truth, and one which has been carefully crafted at that. Put together, these explorations of "Ireland" and all its various truths constitute an imaginative map of the nation as she perceives it.

Thesis (LL. M.)--York University, 2000. Graduate Programme in Law. / Includes bibliographical references (p. 213-223). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56184.

Thesis--Utrecht. / "Stellingen" inserted at end.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 373-398). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 373-398). Also available on the Internet.

This dissertation focuses on British imperial violence in India and Ireland just after the First World War. It compares incidents of violence in each place to argue that British violent repression was an essential component of the imperial system. It also analyzes the public reaction to these events to show new, sharp divisions in British politics that had significant implications for the fate of Ireland, then waging a war for independence. Specifically, this dissertation compares, by way of case studies, the “Amritsar Massacre” of April 13, 1919 and the administration of martial law in Punjab, to the ways in which Crown Forces exacted reprisals against unarmed civilians during the Irish war for independence, including the incident of November 21, 1920, commonly referred to as “Bloody Sunday,” when British ex-military officers opened fire on a crowd watching an Irish football match. The authorities in Punjab and Ireland committed reprehensible acts that resulted in official government inquiries. The Hunter Committee, as the inquiring body into the Punjab incidents is known, condemned the shooting at Amritsar. The Government of India forced the officer responsible, General Dyer, to retire. The British reaction to this was sharply divided between Conservatives and Irish Unionists who championed Dyer and Liberals, Indian and Irish nationalists who felt the government had been too lenient on the man. Similarly, countless voices decried the excesses of imperialism and the use of reprisals against the Irish Republican Army (IRA), but for varied reasons. The public reaction to these Irish and Indian developments, along with British policy, transpired in the context of a “crisis of empire.” Britain was beset by unrest not only in Ireland and India, but also in Egypt, Iraq, Afghanistan, and Palestine. Colonial nationalists radicalized by the war and Wilsonian notions of self-determination demanded self-government while Britain fought fiscal insolvency, domestic unrest, Bolshevism and Pan-Islamism. In this global context, concessions to moderate nationalists would have to be made and coercion used only as a last resort. In this sense the imperial system was changing, and the old guard stood determined to fight it. / text

Print culture was a fundamental site in which new ideas about England’s role in world affairs were debated in the latter half of the sixteenth century. Print changed the ways in which new discoveries, proposals, grievances, and questions were assessed, and not always to the desired effect. In the face of the sphinx-like power of the press, a wide array of strategies emerged to control it. But people at many levels of the publishing process could use the rhetoric of the text, and of the printed book, to rearrange the relationships between authors and readers, to upset the thrust of a particular line of argument, to alter the aesthetic, moral, or pragmatic judgment a reader might exercise, or in a more subtle way to change the terms of the issue at hand. In view of the diversity of these possibilities, this report follows figures known to the London print world, some authors, some printers, and examines how they acted, reacted, and worked through, issues that arose from being on the cusp of England’s relationship with a wider world. / text

My thesis examines how identity was constructed in the late nineteenth and early twentieth century amidst the growing possibilities of the cross-cultural transfer of ideas and products by analysing case studies of women-owned and -operated craft organisations: Limerick Lace and Clare Embroidery (Ireland) and the Deerfield Society of Blue and White Needlework (United States). I contend that the increased accessibility of print culture, travel and tourism, and World’s Fairs enabled the women responsible for these craft organisations to integrate a pastiche of artistic influences – those recognised as international, national, and local – in order to create a specific and distinct style of craft. The Arts and Crafts movement, with its ideas about art, craft, design, and display, provided a supra-national language of social and artistic reform that sought to address the harshness of industrialisation and to elevate the status of craft and design. The national framework of revival movements – the Celtic Revival in Ireland and Colonial Revival in the United States – promoted the notion that Folk and peasant culture was fundamental to each country’s heritage, and its preservation and renewal was essential to fostering and legitimising a strong national identity. I critically access the way these case studies, which were geographically separate yet linked through chronology, gender, and craft, operated within these international and national movements, yet they negotiated these larger ideologies to construct identities that also reflected their local circumstances. My intention is to unite social history with material culture in order to investigate the ways in which the discussion and display of the crafts, and the artistic components of the textiles themselves operated as a vehicle for establishing identity. / Thesis (Master, Art History) -- Queen's University, 2007-09-05 23:54:49.895