Thesis (M.A.)--Wheaton College Graduate School, 2008. / Abstract. Includes bibliographical references (leaves 72-75).

Thesis (Ph. D.)--University of Notre Dame, 2006. / Thesis directed by Kevin Hart for the Department of English. "April 2006." This dissertation "suggests that Catholic intellectual and political developments played a significant role in providing modernist figures a model for resistance to modernity. The dissertation focuses on three Irish modernist poets--Brian Coffey, Denis Devlin, and Thomas MacGreevy"--Abstract. Includes bibliographical references (leaves 472-487).

Thesis (M.A.)--Wheaton College Graduate School, 2008. / Abstract. Includes bibliographical references (leaves 72-75).

Irish author Brian O'Nolan's (1911-1966) later career involves multi-media works that in a variety of ways challenge Ireland to be more open to the complications of modernity. These controversial works have too often been dismissed as pedestrian and unsophisticated, though they offer themselves as experiments in different media, involving technologies that were recent developments in Ireland. Looking at his later fiction, journalism, and television writings reveals that O'Nolan continued his commitment to complexity throughout his entire career. O'Nolan's experiments take many forms, including the fragmented identities of Flann O'Brien and Myles na gCopaleen, portraying an author who embraces modernity when many in the country advocated provincial lore. He is open to modernity because he seeks positions among Ireland's emerging modern and nascent provincial voices in multiple narratives. These multiple positions are located in verbal and visual forms, multiple personas, and multiple genres--including new media--where he crosses boundaries of artistic media by including visual representations in his written experiments published and broadcast in new media. I combine Cultural and New Modernist Studies in an approach that labels O'Nolan a "bad" modernist because his multi-media and multi-genre works are precise and premeditated experiments in cosmopolitan as well as regional modernity. Moreover, I contend this "bad" modernist's later works can be reexamined as one form of Ireland's modernist culture, helping to bridge the transition from colony to emerging global power. Chapter one starts with persona Flann O'Brien's last novel, Slattery's Sago Saga (1965-1966), which is an appropriate beginning because its multiple narratives are extended to a broader, transatlantic audience, that of America. The novel also adopts an ambivalent female character that reappears, almost simultaneously, as a straightforward, confident female voice in the multi-episode television series, Th'Oul Lad of Kilsalaher (1965). Since O'Brien's works can be troubled by misogynistic tendencies, studying a later novel that complicates preconceived patterns about women helps readdress criticisms of the writer. Two interchapters also depict O'Brien's diverse experiments and positions in both well-known and obscure locales, anticipating shifts in more refined writings. The first of these analyzes O'Brien's early experiments in visual form, such as cartoons in childhood and college endeavors and doodles in the unpublished, first manuscript of At Swim-Two-Birds. In chapter two, the Cruiskeen Lawn columns, written under the Myles persona, mark a new form of journalism that uses intersections of verbal monologue and found illustrations to form its jokes. This word and image debate is made humorous by old trade magazine illustrations being recycled as new etchings, and this compounds the literary forgery evident throughout O'Nolan's career. Additionally, Myles' new journalism can be considered public art because The Irish Times where the columns are circulated is a natural arena of debate. A second interchapter hints at O'Nolan's part in shaping public thinking while offering his talents for pay. These experimental sketches show the "bad" modernist in O'Nolan when he tries to sell his Myles identity to Irish businesses like the Irish Hospital Sweepstakes, Guinness, and Whiskey Distilleries as a viable brand (a satirist who combines visual material with current and historical events) in the commercial market, even when the archives remain ambiguous. Finally, chapter three focuses on Myles' writings in television, and it is in Th'Oul Lad of Kilasalaher that a confident, modern female voice first emerges in his writing career. I compare his early, full-length television plays, which are often formulaic and transferable to other modern nations, to the multi-episode series, O'Dea's Yer Man and Th'Oul Lad of Kilasalaher, in part to reveal his pioneering role in developing a new form of modernity for Ireland; that he wants them to remain open to independent ideas rather than forcing on them a prevalent and predominant form of modernism. In the epilogue, I compare O'Nolan's modernist experiments to Anne Enright's parallel and contemporary work The Wig My Father Wore (1995).

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

The purpose of the present study was to evaluate the reliability of parallel-forms of the Comprehensive Neuropsychological Screening Device (CNS). Forty-five subjects ranging in age from 16 to 69 were administered Form A and Form B of the CNS at two week intervals. Results indicated that the CNS has adequate test-retest reliability. The results suggest the applicability of using the CNS as a screening device for brain dysfunction.

This thesis demonstrates a comparative and analytic discussion of citizenship idea based on two distinct liberal doctrines of two contemporary political philosophers: Brian Barry and William Galston. Barry's egalitarian liberalism argues for 'common citizenship' notion in order to promote liberty and equal treatment of all individuals irrespective of any social differences. On the other hand, 'liberal pluralist citizenship' of William Galston's signifies his liberal pluralism to mitigate cultural and religious conflicts of liberal democratic society. The fundamental disagreements among these liberal approaches over the issues of public recognition of group rights and restricted state authority are analysed in this study. Finally, by analysing both the liberal positions under the challenge of multicultural issues the author defends Galston's liberal idea and judges it as more convincing than Barry's liberal approach.

A controversial law on new possibilities for residence permit for unaccompanied minors entered into force in Sweden, July 2018. The law states that certain unaccompanied minors should be granted residence permit for studies at the upper secondary level. The aim is to examine the proposition that led up to the law changes, by using qualitative content analysis based on Orend’s dimensions of the concept of rights. Moreover, to examine the ambiguities and conflicts regarding the interpretation of human rights. The conclusions are that the proposition is a case of interpretation of human rights, where the Government interprets certain unaccompanied minors as right holders, the Migration Board as main duty bearer and the right as legal claims, deriving from moral rights that exist within a social context in society. The proposition is an example of where the right object, which is the possibility to be granted a residence permit, has changed.