Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p. 141-146). Also available in electronic format on the Internet.

This thesis is an examination of the trapped lives of Marina Carr's female protagonists and their relevance to contemporary Irish women. In her six plays from The Mai to Woman and Scarecrow, each of Carr's female protagonists is trapped either in a liminal state, defined by Victor Turner as a phase in a rites of passage process, or in a patriarchal addictive society, defined by Anne Wilson Schaef as a society in which the power is maintained and perpetuated by white males with the help of all members of society including women. Portia (Portia Coughlan), Hester (By the Bog of Cats), and Sorrel (On Raftery's Hill) are trapped in a liminal state. As liminal characters, each of these women has the ability to discern the destructive nature of the addictive society around them and must therefore decide either to integrate into that society or remain in a liminal state. Since neither option is appealing, Portia and Hester choose to commit suicide rather than to submit themselves either to continual liminality or to the addictive society. Sorrel, however, chooses liminality, and her life attests to the stagnation accompanying such a choice. The Mai (The Mai¬), Elaine (Ariel), Frances (Ariel), and Woman (Woman and Scarecrow) choose to integrate into the addictive society. In so doing, they surrender their personal power and submit to the typical feminine roles and addictions of their society. Ultimately their submission to the addictive society leads each of these characters to a destructive end: The Mai commits suicide, Frances dies by Elaine's hand, and Woman lives a stagnant life and dies unfulfilled. Although Carr's protagonists are fictional, the liminal and addictive states that Carr's women experience mirror the situations that Irish women have encountered and continue to encounter today. Like their fictional counterparts, Irish women are frequently faced with either a liminal position outside of society or traditional women's roles within an addictive society"”both of which are destructive options as Carr's protagonists demonstrate through their own lives and deaths. Although Carr's protagonists do not appear to offer any solutions to these problems, her plays do meaningfully illuminate and name these problems that Irish women face.

Thesis (M.A.)--Indiana University, 2007. / Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)

This thesis utilizes Foucault’s concept of “technologies of the self” to examine three texts from 1980s British literature for the ways that postmodern writers compose the self. The first chapter “Liminality and the Art of Self-Composition” explores the ways in which liminal space and time contributes to the self-composition in J.L. Carr’s hybrid Victorian/postmodern novel A Month in the Country (1980). The chapter on Jeanette Winterson’s novel Oranges Are Not the Only Fruit (1985) titled “Intertextuality and the Art of Self-Composition” argues that Winterson’s intertextual play enables her protagonist Jeanette to resist the dominance of religious discipline and discourse and compose a more autonomous, artistically oriented self. The third chapter, titled “Spatial Experimentation and the Art of Self-Composition,” examines R.S. Thomas’s collection The Echoes Return Slow (1988), a hybrid text of prose and poetry, arguing that Thomas explores spatial gaps in the text as generative spaces for self-composition.

<p>My dissertation, Critical Realism: An Ethical Approach to Global Politics, investigates two strands of modern political realism and their divergent ethics, politics, and modes of inquiry: the mid- to late 20th century realism of Hans Morgenthau and E.H. Carr and the scientific realism of contemporary International Relations scholarship. Beginning with the latter, I engage in (1) immanent analysis to show how scientific realism fails to meet its own explanatory protocol and (2) genealogy to recover the normative origins of the conceptual and analytical components of scientific realism. Against the backdrop of scientific realism's empirical and normative shortcomings, I turn to Morgenthau and Carr to appraise what I term their critical realism. I map out the constellation of their political thought by reconstructing the interrelations between (1) the historical crises motivating their writings, (2) their philosophical and methodological criticisms and commitments, (3) their political prescriptions and ethics. My dissertation demonstrates how reading realist texts through the lens of contemporary methodological conventions decisively shapes our theoretical purview, empirical knowledge, and political judgments. Beyond illuminating the underappreciated radical, critical, and historical dimensions of political realism, my dissertation has implications for contemporary debates on international ethics and foreign policy as well as research in political science and political theory.</p> / Dissertation

This study examines the impact of new museological theory on museum education practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a case study that concerns both the negotiation of meanings around Emily Carr's work as they are situated within current and traditional art historical/ historical beliefs, and the desire to offer museum visitors a more sufficient or comprehensive educational experience. The dissertation examines the installation of Carr in a variety of galleries across Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver Art Gallery) as a means of contextualizing a range of problems associated with museum practice. The National Gallery chapter explores issues of ideology raised by the new museology. The chapter concerning the display at the Art Gallery of Greater Victoria concerns the particularities of site and place (Victoria was Carr's birthplace) as well as notions of resonance and contextualization in art displays. The discussion of the Art Gallery of Ontario concerns contextualization of a different sort, the display created with a solid foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in the earlier chapters, by the challenges of post-modem theorists to historical understanding, historiography, and museum practice.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1991. / Includes bibliographical references (leaves 573-617).

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1991. / Includes bibliographical references (leaves 573-617).

x, 147 p. A print copy of this title is available from the UO Libraries, under the call number: KNIGHT PR6053.A6944 Z75 2008 / This study explores and demonstrates how Marina Can uses Irish folktale motifs in her plays to bring the audience to a state of mind where they viscerally, as opposed to intellectually, engage with Ireland's search for a cultural post-colonial identity. The analysis of Carr's works focuses on four of her post- Mai plays: The Mai, Portia Coughlan, By the Bog of Cats, and On Raftery's Hill. The focus is on the connection between these plays and Irish folklore, and explores Carr's use of folklore motifs within her plays. The analysis uses the folkloristic research approach, which classifies items or stories in the folktales by identifying distinguishing characteristics or specific items within a tale genre. The indices used in the analysis are Aarne-Thompson Index, Tom-Peete Cross's Motif-index of Early Irish Literature, and Sean O'Sullivan's Motif-Index of Irish Folklore. The plays were searched for motifs that correspond with those of the folktale motifs, and were then compared with these found in the indices. A second analysis showed that, within these four plays, Marina Carr mainly uses Irish folktales from before England's colonization. She modifies the folktales within her plays, specifically around the issue of agency for her female protagonists. The concluding chapter offers a Jungian explanation of Carr's use of these folktales as a means to engage the Irish national discussion of the development of a cultural identity. / Adviser: John Watson

Abstract Modern NMR methods in liquids are based on the transfer of polarisation from nucleus to nucleus to generate multidimensional heteronuclear correlation spectra. The factors that influence the efficiency of heteronuclear polarisation transfer in multi-pulse experiments, and in that way the quality of spectra are the subject of this thesis. The flow of coherence through pulse sequences can be designed and analysed with the aid of product operator calculations. Results of the study include improvements to quantitative two-dimensional shift-correlated experiments, and demonstration of the benefits of closely spaced 180° pulse trains in polarisation transfer steps in long-range correlation experiments and isotope editing filters.