Lou, the heroine of Marian Engel's Bear, attempts to confront the difficulties she has with male domination in a relationship with a semi-tame bear, but fails to resolve them because both female subjectivity and the patriarchy are socially constructed.

The purpose of this thesis is to re-evaluate the evidence of Marian images in Rome in late antiquity. It argues that centuries of misreading the iconography of Paleo-Christian art has produced unreliable evidence of an early Marian cult in the Roman Church. Surviving examples of images previously identified as Mary are compared with other forms of representation and personification alongside goddess images from around the Roman world. The conflicts present within the emergent Roman Church and the influence they may have had on the developing artistic traditions are re-considered, with particular emphasis on the iconography of the ‘Adoration of the Magi’. Powerful female figures such as martyr saints and widows are presented as more popular models of early Christian womanhood. In particular virgin martyrs, the eroticisation of whose cult with its sado-masochistic tendencies, catered for a Roman society still deeply influenced by its appetite for violent games and sports. The thesis also examines images identified as Mary, but much more probably originally intended as ecclesia and explores the role of Christ as the bridegroom to ecclesia, the martyrs and the consecrated virgins. It goes on to argue that the growing issue of anti-Judaism in the emergent Roman Church had a particular effect on how Mary was perceived by church leaders.

This thesis focuses on the way in which slanguage, treated as a way of characterization, is rendered in the Lithuanian translation of Marian Keyes’s chick lit novel Anybody Out There (2006) by Regina Šeškuvienė (2007). The main characters in the novel are women who use slang words and swear words in different situations both at work and their personal lives. In this respect, these women are different from traditional heroines of the romance who tend to use language in a traditionally feminine way, i.e. their language is polite and suited to reflect their impeccably feminine character. Swear words for heroines of chick lit serve as a means to express their oftentimes excessive and not always socially approved emotions and attitudes. The use of proper and specific slang helps them to make their conversations sound informal, to show familiarity and friendliness and to speak about uncomfortable issues such as sexual orientation or drug addiction. Slanguage becomes a significant means of characterization in Anybody Out There. Therefore, the aim of this thesis is to analyse how the use of language by female characters reveals their character in the source text and in the target text and how slanguage as a means of characterization functions in the Lithuanian translation of the novel. The thesis consists of two main parts, theoretical and analytical. The material and the aim of the thesis are presented in the introduction. Chapter two presents the theoretical background of the... [to full text] / Šiame darbe nagrinėjamos slengo kalbos kaip charakterizavimo priemonės vertimo strategijos airių rašytojos Marian Keyes „chick lit“ romano „Ar ten kas nors yra?“ („Anybody Out There“, 2006 m.) lietuviškame vertime. „Ar ten kas nors yra?“ 2007 m. į lietuvių kalbą išvertė vertėja Regina Šeškuvienė. Pagrindinės romano herojės yra moterys, kurios įvairiose gyvenimo situacijose vartoja slengo žodžius ir keiksmažodžius. Šiuo aspektu jos yra nutolusios nuo tradicinių romano herojų, kurios vartojo gražią, taisyklingą kalbą. „Chick lit“ žanro moterims keiksmažodžiai yra būdas išreikšti savo požiūrį, jausmus ir emocijas. Paprasto ir specifinio slengo žodžių vartojimas joms padeda išvengti formalumo pokalbiuose, parodyti draugiškumą, familiarumą bei leidžia nevaržomai kalbėti tokiomis nepatogiomis temomis kaip seksualinė orientacija ar priklausomybė narkotikams. Slengo kalba romane „Ar ten kas nors yra?“ tampa svarbia herojų charakterizavimo priemone, todėl šio darbo tikslas – išanalizuoti, kaip romano herojų kalba atskleidžia jų charakterį originaliame tekste ir vertime. Šį darbą sudaro dvi pagrindinės dalys – teorinė ir praktinė analizės. Darbo tyrimo medžiaga ir tikslas yra pristatomi įžangoje. Antrą teorinės dalies skyrių sudaro keturi poskyriai, kuriuose aptariama slengo kilmė, apibrėžimas, slengui būdingi požymiai, slengo funkcijos ir slengo kalbos klasifikacija. Šiame skyriuje taip pat yra apžvelgiamos slengo kalbos vertimo problemos ir vertimo strategijos. Trečiame skyriuje... [toliau žr. visą tekstą]

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This essay examines Marian Keyes's views on love, happiness, setbacks and unfaithfulness which are common themes in her novels. These themes are discussed in Keyes's chick lit novels "Watermelon" and "Lucy Sullivan is getting married". Some background information about this genre is also presented. Finally, it becomes evident that Marian Keyes has used a lot of her own experiences when writing these novels, in terms of love, happiness and obstacles in finding love and happiness. / <p>Validerat; 20101217 (root)</p>

This is the first published edition of Suita Maryjna (1987), a nine-movement Marian suite intended for three-part treble chorus, string quartet and two flutes composed by the Polish neoclassicist composer Irena Pfeiffer (1912-1986). The work was most likely intended for performance during Pope John Paul II’s pilgrimage to the Wawel Cathedral in Cracow, Poland in June 1987. It is structured according to a Marian prayer service known as the Jasna Góra Appeal, first prayed in the Jasna Góra Sanctuary in Częstochowa, Poland when the nation gained its sovereignty in 1918. The appeal was popularized by Pope John Paul II, who prayed it across Poland during his pilgrimages. Following the 1987 pilgrimage, Pfeiffer sent a manuscript of Suita Maryjna to the Lira Ensemble, a professional ensemble in Chicago specializing in Polish music, song and dance. Pfeiffer played an important role in the Lira by serving as a long-distance artistic advisor and by providing co-founder and current artistic advisor Lucyna Migala with modern Polish compositions for nearly twenty-five years. Suita Maryjna became a cornerstone of the ensemble’s repertory and was performed frequently, including in a studio recording in 1996. This edition of Suita Maryjna is placed in the context of Pfeiffer’s career, with particular attention to her working relationship with Pope John Paul II and the Lira Ensemble. Moreover, it discusses how Suita Maryjna reflects archaism, one of several strands of Polish neoclassicism in which diverse styles from earlier historical periods are fused.

Thesis (M.A.)--Northern Michigan University, 2009. / "14-62709." Bibliography: leaves 54-59.

The Virgin of Mercy is a Marian devotional image type recognizable by its portrayal of Mary protecting the faithful with her cloak. This thesis situates the iconography of painted panels within their historical and cultural context in Spain from the late medieval period to the Age of Exploration. I explain the image's origins and introduce its various versions, focusing on three major frequently commissioned subtypes: the Sponsorship of the Virgin, plague commissions, and the Mercedarian's Virgin of Mercy. I present a case study of one famous version of the type, the Virgin of the Navigators, and focus on the Spaniards and Amerindians beneath the cloak, situating them in relation to the historic debate that called into question the very humanity of the peoples of the Americas. The thesis explores the painting's possible statement the patrons may have been making through the artistic treatment of both groups.

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