The eighteenth century is famous for producing literary satire, primarily in verse (and later prose) form. However, during this period, a new dramatic form also arose of which satire was the controlling element. And like the writers of prose and verse satires, playwrights of dramatic satire claimed that their primary aim was the correction of moral faults and failings. Of course, they did not always succeed in this aim. History has shown a few, however, to have had a significant impact on the ideas and lives of their audiences. This thesis is an attempt to demonstrate how these satiric dramas achieved their reformative aims by tracing the theatrical experience of an eighteenth-century audience through Victor Turner's stages of liminality. Turner explains the different ways in which specific genres of theatre (1) create a performance space that is apart from, but still draws symbolically on, the outside world, (2) invite the participation of their audiences in that space, and (3) urge audiences to act in different ways as they leave the theatre space. By examining plays in these ways, we can see how the plays affected the ideas and outlooks of audience members. Because satiric drama invited a high level of participation from audience members, because it invited them into a very "liminal" space, it frequently served to sway audience members' tastes, and in some cases even helped to revolutionize social and literary institutions.

This paper examines the roles of technical communicators and writing center consultants in regards to their identities and the expertise that they bring to what they do. Both fields have struggled with a lack of understanding surrounding what their positions entail and more importantly how they perform in their roles. With this in mind, the goal of this paper is to analyze how the growth of each field and the variations of each position contribute to the issue of identity. Furthermore, as a result of the identity problem that faces each position, I suggest using the theory of liminality, communication theory, and genre theory to examine more closely how technical communicators and writing center consultants approach the work they do. Technical communicators and writing center consultants perform very similar roles in their respective fields. Both positions have the ability to contribute to various fields through the work that they do. Technical communicators have the ability to communicate in multiple areas without necessarily being subject matter experts in the areas they participate in. The same holds true for writing center consultants who may, in one day, assist students in multiple subjects without necessarily having specific disciplinary knowledge of each area addressed. Outsiders do not understand how technical communicators and writing consultants can communicate within an unfamiliar field, which creates a main area of controversy for both roles. Using the three theories mentioned above, I make an argument for just how it is possible for them to perform in this capacity. By focusing on how technical communicators and writing center consultants perform in their roles instead of on their writing, their identity and expertise becomes clear and confusion surrounding each field can be banished. Although technical communicators and writing consultants both face similar challenges, their responsibilities differ in ways that affect how these theories apply. Still, all three theories illuminate how rhetoric provides the basis for expertise in both technical communication and writing centers.

Bakgrund: Hjärtat är en stark symbol för människor. Den medicintekniska utvecklingen har förändrat människors livsvillkor och sjuksköterskans arbete. Den tekniska utvecklingen speglar ett behov personcentrerad vård. Detta har väckt ett intresse för hjärttransplantationspatienters upplevelser. Syfte: Att beskriva patienters upplevelser efter en hjärttransplantation. Metod: En litteraturöversikt genomfördes med åtta artiklar. Datainsamlingen genomfördes på databaserna CINAHL och Pubmed. Resultatet analyserade med Fribergs analysmetod. Resultat: Utifrån resultatet framträdde fyra teman: Medicinsk påverkan,sociala relationer, känslomässiga prövningar och en andra chans. Sammanfattning: Litteraturöversikten gav en inblick i hjärttransplantationspatienternas upplevelser efter transplantationen. Dessa handlade om upplevelser av medicinbiverkningar, förändringar i sociala relationer, utmaningar i känsloliv och deras upplevelser efter att ha fått en andra chans på livet. / Background: The heart is a powerful symbol for humans. The technological advancements in medicine have changed people's living conditions and the work of nurses. The technological development reflects a need for person-centered care. This has generated an interest in the experiences of heart transplantation patients. Aim: To describe patients experiences after a heart transplantation. Method: A literature review was conducted utilizing eight articles. Data collection was performed on the CINAHL and PubMed databases. The results were analyzed using Friberg's analysis method. Results: Based on the results, four themes emerged: Medical impact, social relationships, emotional trials, and a second chance. Summary: The literature review provided insight into the experiences of hearttransplant patients post-transplantation. These experiences included encountering medication side effects, changes in social relationships, emotional challenges, and reflections on their experiences after being given a second chance at life.

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[pt] A vingança, nas artes, é provavelmente um tema tão frequente e tão relevante quanto o amor. Na teoria social, em contrapartida, o assunto se encontra pulverizado, coadjuvando várias outras ideias. Este trabalho busca elevar a vingança à condição de protagonista também nas ciências sociais: para tal, em primeiro lugar, procuro situar vingança e vingador a partir da noção de reciprocidade, contrastando trocas positivas (dádivas) e negativas (ofensas). Procuro ainda examinar uma série de conceitos correlatos — honra, sacrifício e renúncia, por exemplo — sempre com o intuito de circunscrever ou de inserir o objeto entre os elementos contemplados pela teoria antropológica. Em um segundo momento, busco na literatura modelos de vingador; partindo do indivíduo para a sociedade, colocando personagens clássicos da literatura ocidental no centro do drama, tento interpretar as representações da vingança à luz dos modelos antropológicos ora pretendidos. Por fim, no terceiro e último bloco me aproximo da vingança a partir do caso brasileiro, usando como molduras a realidade sertaneja, os contrastes entre interior e litoral, explorando as particularidades sócio-culturais amparadas principalmente na honra como elemento mantenedor da coesão social. / [en] Vengeance, in arts, is probably a theme as recurring and as relevant as love. In social theory, however, the subject is pulverized, supporting several other ideas. This thesis tries to elevate revenge to a protagonist status also in social sciences: therefore, in the first place, it attempts to understand vengeance reading classical studies about reciprocity, contrasting positive (gifts) and negative (offenses) exchanges. Then, still observing social or cultural concepts — as honor, sacrifice and renounce, for example — we proceed trying to circumscribe vengeance between elements contemplated by anthropological theories. In a second moment, targeting literature, there will be a search for our avenging models; from the individual to society, bringing some classical characters to the center of the stage, some representations of revenge will be analyzed in accordance with the theoretical models previously appointed. Finally, the third and last part is devoted to the Brazilian case: using our backlands as a frame, understanding differences between country and litoral, exploring the sociocultural particularities mainly based on honor and violence, as elements that sustain social cohesion.

<p dir="ltr">Violent death that violates the ontological dignity of the body and the disappeared corpse often results in a crisis of mourning for those left behind, with the matter made all the more complicated when it comes to instances of politically motivated violence in the context of war. What follows such death/disappearance are issues of identification, collection of remains and, ultimately, an inability to enact necessary death rituals such as washing, shrouding and burial, leading to a separation between the dislocated soul and the corporeal form on part of the dead and the issue of incomplete mourning on part of the bereaved. Both the living and the dead, thus, come to occupy a liminal space (<i>barzakh</i>) where the boundaries between past/present, human/non-human, and dead/alive fall away. This paper argues that this in-between state helps the mourner gain access to a radical state of bearing witness outside of the oppressive binaries of the modern world. This work makes use of Middle Eastern (Iraq, Palestine, Egypt) and South Asian (Kashmir) literatures dealing with dehumanization and violent death in the context of what Achille Mbembe refers to as “death-worlds,” inhabitants of which are deemed “living-dead.”</p>

This study explores the exchange of cultural information that takes place in the meeting between immigrant and non-immigrant characters in a selection of Australian novels focusing on the theme of migration: Heartland (1989) by Angelika Fremd, A Change of Skies (1991) by Yasmine Gooneratne, Stella’s Place (1998) by Jim Sakkas, Hiam (1998) by Eva Sallis and Love and Vertigo (2000) by Hsu-Ming Teo. The concept cultural translation functions as a theoretical tool in the analyses. The translation model is particularly useful for this purpose since it parallels the migration process and emphasises the power relations involved in cultural encounters. Within the framework of the study, cultural translation is defined as making an unfamiliar cultural phenomenon familiar to someone. On the intratextual level of the text, the characters take on roles as translators and interpreters and make use of certain tools such as storytelling and food to effect translation. On the extratextual level, Fremd, Gooneratne, Sakkas, Sallis and Teo represent cultural translation in the four thematic areas the immigrant child, storytelling, food and life crisis. The first theme, the immigrant child, examined in chapter one, explores the effects of using the immigrant child as translator in communication situations between immigrants and representatives of Australian public institutions. In these situations, the child becomes the adult’s interpreter of the Australian target culture. The role as translator entails other roles such as a link to and a shield against the Australian society and, as a result, traditional power relations are reversed. Chapter two analyses how the second theme, storytelling, is presented as an instrument for cultural education and cultural translation in the texts. Storytelling functions to transfer power relations and resistance from one generation to the next. Through storytelling, the immigrant’s hybrid identity is maintained because the connection to the source culture is strengthened, both for the storyteller and the listener. The third theme, food as a symbol of cultural identity and as representation of the source and target cultures, is explored in chapter three. Source and target food cultures are polarised in the novels, and through an acceptance or a rejection of food from the source or target cultures, the characters symbolically accept or reject a belonging to that particular cultural environment. A fusion between the source and target food cultures emphasises the immigrant characters’ cultural hybridity and functions as a strategic marketing of culturally specific elements during which a specific source culture is translated to a target consumer. Finally, the fourth theme, life crisis, is analysed in chapter four where it is a necessary means through which the characters experience a second encounter with Australia and Australians. While their first encounter with Australia traps the characters in a liminal space/phase that is signified by cultural distancing, the second encounter offers a desire and ability for cultural translation, an acceptance of cultural hybridity and the possibility to become translated beings – a state where the characters are able to translate back and forth between the source and target cultures.