Psoriasis is not an illness just of these days. 3-7% of world population suffers from this illness. This diploma work focuses on quality of life of ill people. We guess that it influences such a client in a holistic way. This illness interferes into personal, professional and social life. So psoriasis is not just an illness but also an everyday problem or handicap for those who get ill.Two questionnaires were made for this research, where first of those is focused on quality of life by a standard questionnaire and the second one was created on the base of analysis of D. Johnson model. Those questionnaires were given out to ill in South and Central Counties of Bohemia. The respondents were to chose, after their completing, which one is more sensitive to problems implying from this illness. The results are graphically shown and then paid attention in chapter Discussion.Finally I would like to say, those hypotheses were acknowledged. Psoriasis influences life in a holistic way, a nurse can have a significant influence on well-being of a client with this illness in area of her nursing interventions and D. Johnson model is an effective tool for providing those ill with psoriasis with care.

La musique dans Pilgrimage de Dorothy Richardson joue un rôle important. C'est avant tout un élément crucial dans la quête identitaire de la protagoniste, Miriam Henderson. Récit de la formation d'une artiste, Pilgrimage est aussi celui de la quête d'une identité religieuse, nationale et féminine de la protagoniste. La musique accompagne le récit et offre la possibilité à Miriam de (ré)évaluer sa relation aux différentes religions organisées, de redéfinir son anglicité et de construire une identité féminine authentique. La musique ouvre également la voie à la « joie indépendante », au « centre de son être » où se loge une identité préexistante sur laquelle repose l'identité authentique qu'elle cherche. Par ailleurs, la musique aide Richardson à rompre avec la tradition romanesque du dix-neuvième siècle et à exprimer sa défiance à l'égard du langage et sa capacité à représenter la « réalité ». En intégrant les principes musicaux à la construction du texte narratif, l'auteur met en valeur son désir d'utiliser la musique comme modèle du fonctionnement sémiotique du texte narratif, d'influer sur la façon dont celui-ci fait sens et le communique en réfractant la « réalité » sur un axe à la fois vertical et horizontal et présente ainsi sa conception du temps comme échappant à la division entre passé, présent et futur. En outre, Richardson a recours à la musique pour mieux représenter la conscience, le processus de réflexion et le monde intérieur de sa protagoniste. Enfin, l'accompagnement musical sollicite la coopération de la conscience créatrice du lecteur en s'assurant sa collaboration dans la construction de la « réalité » que le roman tente de représenter. / Music plays an important role in Pilgrimage by Dorothy Richardson. On the one hand, music is a crucial element in the protagonist's search for identity. Reading Pilgrimage as a story of a quest and the formation of an artist shows that the quest of the protagonist Miriam Henderson is also that of a religious, national and feminine identity accompanied by music. Music provides the protagonist with the opportunity to (re)assess her relationship with various organized religions, redefine her Englishness, and build an authentic female identity. Music also reveals the “independent joy,” at “the center of being,” where a pre-existing identity can be found upon which the authentic identity that Miriam seeks rests. On the other hand, Richardson relies on music to break with the nineteenth-century writing conventions and express her distrust in the capacity of language to render “reality.” Her effort to integrate musical principles in the construction of the narrative emphasizes her desire to use music as a model for the semiotic functioning of the text, to influence how the text makes sense and communicates it refracting “reality” on an axis, both vertical and horizontal, thus presenting her concept of time which is outside the division into past, present and future. Furthermore, Richardson uses music to represent consciousness, the thinking process, and the inner world of the protagonist. Finally, the musical accompaniment generates the cooperation of the reader's creative consciousness securing his collaboration in the construction of the “reality” that the novel is trying to represent.

The purpose of this thesis is to show, through a study of the letters and a comparison of the journals and poems, the extent of the influence of Dorothy Wordsworth on the poetry of William Wordsworth and to bring together for the first time evidence of her influence.

This dissertation describes a movement I am calling Radical Social Activism that flourished among Catholic women between the years 1920-1960. The Catholic women participating did not abandon their Church's teachings on women but worked within the androcentric Catholic Church to achieve some lasting results as Radical Social Activists. This Radical Social Activism worked in the lives of Dorothy Day, Maisie Ward, and Dorothy Dohen, three women who retained a firm attachment to the Catholic faith and who would not align themselves with the incipient feminism of the times, but who, nevertheless, strove for social change and justice without regard for political or social recognition. Their work was radical because they were not complacent with the status quo and worked to change it. Their work was social because they ignored Church politics and reached outside their individual egos. And their work was definitely action oriented in that they practiced their beliefs rather than simply preach them. Few Catholic women were involved with the early women's Suffragist movement; the overwhelming majority did not participate in mainstream feminism, in part due to their immigrant background. Women stepped out of the family setting and into active roles in a society that increasingly measured success in terms of economic well being. These role changes produced trade offs in terms of how the family was viewed and it de-emphasized society's spiritual well being. Some of the issues and solutions for women in modern society collided with moral and ethical teachings of the Roman Catholic Church. I have selected three such women who responded with Radical Social Activism, and participated in the American Catholic Church, however, they did not participate in the general feminism of the times. These women, Dorothy Day, Maisie Ward, and Dorothy Dohen, represented in their Radical Social Activism, a feminism of the spirit, as it were, while still remaining within the structure and Magisterium of the Church proper. As women moved into secular society, they made compromises concerning their duties and responsibilities to family. Issues of divorce, birth control, and abortion became popular remedies that helped limit family duties and responsibilities. However, the Catholic Church has always viewed these as problematical and theological challenges to Catholic teaching and has consistently refuted the expediency of these solutions on moral grounds. Yet, if the Church's view on women limits women as feminists have claimed, it did not stop Day, Dohen, and Ward from participating and changing the secular world around them, while still remaining loyal to the teachings of the Catholic Church. / Christian Spirituality, Church History & Missiology / D.Th. (Church History)

This study seeks to question old and common misconceptions concerning the american literary genre Southern Gothic. By using the carnival theory, the theory about the "grotesque" by Mikhail Bakhtin, this study seeks to explain and reach a better understanding of some works defined as Southern Gothic - so called because of the significance that is attributed in the genre to the geographical location in the southern United states. This study analyzes carnivalesque transgression in short story collections by Flannery O´Connor, Eudora Welty and Dorothy Allison, and the main purpose is to investigate if the genre really is as dark as it is often described by critics; pessimistic, absurdly shocking and without any affirmation regarding the beauty and strength of life.  Transgression is here defined as the transgression made by fictional characters when their bodies and their actions refuses to conform to the norms established by "the official world". By using Bachtins terminology my main thesis is to investigate positive and life-affirming transgression in A Good Man is Hard to Find, A Curtain of Green and Trash. The study further investigates the ways in which the bodies of the fictional characters become grotesque and in what way the characters through their behaviour become carnivalesque. The short stories are also compared with eachother from both a tematic and historic perspective: can changes through time be observed? Does the grotesque form or expression change in any way from Welty to Allison? The conclusion of the study is that both grotesque and carnivalesque forms can be found in the short stories, and it can be considered carnivalesue in a true Bakhtinian way, as both positive and affirming. The study also finds that the grotesque tends to become more positive and life-affirming through time.

[Truncated abstract] This thesis is concerned with the representation of madness in three texts by modernist women: Dorothy Richardson' Pilgrimage, Leonora Carrington's

This dissertation describes a movement I am calling Radical Social Activism that flourished among Catholic women between the years 1920-1960. The Catholic women participating did not abandon their Church's teachings on women but worked within the androcentric Catholic Church to achieve some lasting results as Radical Social Activists. This Radical Social Activism worked in the lives of Dorothy Day, Maisie Ward, and Dorothy Dohen, three women who retained a firm attachment to the Catholic faith and who would not align themselves with the incipient feminism of the times, but who, nevertheless, strove for social change and justice without regard for political or social recognition. Their work was radical because they were not complacent with the status quo and worked to change it. Their work was social because they ignored Church politics and reached outside their individual egos. And their work was definitely action oriented in that they practiced their beliefs rather than simply preach them. Few Catholic women were involved with the early women's Suffragist movement; the overwhelming majority did not participate in mainstream feminism, in part due to their immigrant background. Women stepped out of the family setting and into active roles in a society that increasingly measured success in terms of economic well being. These role changes produced trade offs in terms of how the family was viewed and it de-emphasized society's spiritual well being. Some of the issues and solutions for women in modern society collided with moral and ethical teachings of the Roman Catholic Church. I have selected three such women who responded with Radical Social Activism, and participated in the American Catholic Church, however, they did not participate in the general feminism of the times. These women, Dorothy Day, Maisie Ward, and Dorothy Dohen, represented in their Radical Social Activism, a feminism of the spirit, as it were, while still remaining within the structure and Magisterium of the Church proper. As women moved into secular society, they made compromises concerning their duties and responsibilities to family. Issues of divorce, birth control, and abortion became popular remedies that helped limit family duties and responsibilities. However, the Catholic Church has always viewed these as problematical and theological challenges to Catholic teaching and has consistently refuted the expediency of these solutions on moral grounds. Yet, if the Church's view on women limits women as feminists have claimed, it did not stop Day, Dohen, and Ward from participating and changing the secular world around them, while still remaining loyal to the teachings of the Catholic Church. / Christian Spirituality, Church History and Missiology / D.Th. (Church History)

How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice. Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. In this respect, cinema’s dubious universalism is both an invitation and a problem. Writers from vastly different regional, racial, linguistic, and class contexts were moviegoers, together and apart; but to say they had the same experience is obviously inaccurate. In this project, I draw from historical accounts of moviegoing practices in their specificity to highlight that whereas the mass-distributed moving image held the promise, even the premise, of shared experience, moviegoing was structured by difference. The transatlantic organization of the project is meant to engage and resist this would-be universality, charting cinema’s unprecedented global reach while describing differential scenes and modes of exhibition. Focusing on moviegoing not only permits but requires a new constellation of authors, one that includes English and American, Black and white, wealthy and working class writers alike. Across these axes of difference, women theorized the politics and possibilities of gathering, rethinking the audience as a vital and peculiar social formation.

The focus of this study is to compare works by the Canadian poet Dorothy Livesay (1909-1996) and by the Iranian poet Forugh Farrokhzad (1935-1967). Although Farrokhzad and Livesay were from different generations, their love poems emerged around the same time. Farrokhzad published her poems between 1955 and 1965, and Livesay's collection of love poemsThe Unquiet Bed was published in 1967. There are interesting similarities between the use of voice and theme in their love poems.The speakers in the poems try to keep their individuality and are looking for freedom in love, but often see love as disappointing. My discussion highlights Livesay's"The Touching,"The Taming," and"Consideration" as well as Farrokhzad's"The Sin,"Love Song," and"My Beloved." I also refer to many of their other love poems, discuss their biographies and map out their respective cultural contexts, all of which reflect different worlds. A comparison of Farrokhzad's and Livesay's personal lives shows that Livesay's father and her mother, who were both journalists, helped her to improve and publish her writings while Farrokhzad's parents discouraged their daughter from composing and publishing poems. Livesay was a highly educated woman who lived and studied in different countries, but Farrokhzad did not have access to advanced academic studies. Neither had happy marriages and both left their marriages in search of more freedom. Through their love poems, Farrokhzad and Livesay questioned the patriarchal conventions of their respective societies and tried to express their need for freedom and individuality as women. One of the most important differences between Iranian and Canadian societies was that Iranian society was deeply affected by conventional Islamic ideologies. Farrokhzad's love poems resisted these Islamic ideologies and, as a result, her works were ignored for years. Again, at the time Livesay publishedThe Unquiet Bed (1967), there were some similarities between gender constructions in Iran and Canada, for example, the importance of marriage and the confinement of women to the private sphere, but to a very different degree. Since Livesay lived in a society that was being greatly affected by the feminist revolution in the 1960's, the feminism in her love poems was better received. As this research is done in English, translated versions of Farrokhzad's poems are used. A translated poem never conveys the exact meaning of the original poem.The translator of a poem should be a poet herself or himself. What he or she should do is to read and understand the original poem and reproduce a new poem in the target language. This research discusses some interesting images in Farrokhzad's love poems. As a native speaker of Farsi, I explain the real intention of these images to see if translated versions could convey a similar meaning. I also consider the challenges when translating poetry from Farsi to English and the effects of reading Iranian poetry that has been mediated by translation. An important approach to Farrokhzad's and Livesay's works is to analyze their poems in terms of feminist ideologies. There is a great difference between Iranian and Canadian feminist ideologies. Feminist thought in Iran is based on Islamic ideologies.The question is if Islamic feminism can defend women's rights against men or not. Farrokhzad was one of the anti-Islamic feminists who opposed Islamic rule in her poems. Canadian feminist ideologies, however, are divided into liberal, Marxist, radical, and French schools, and are most often based on secular ideologies. This thesis examines the critical reception of poetry by both poets in the context of different schools of feminist thought in Canada and Iran. Livesay traveled to Zambia later in life and one of the love poems she wrote after that called"The Taming" comments ironically on women's submission to a dominant male lover.The comparison of poems by two authors from different worlds shows how their love poems, their feminist voice, and their themes of freedom, independence, and disappointment in love are rooted in the cultural context of their lives.

My thesis examines the role that Ladies Home Journal played in challenging the ideals of domesticity that emerged in the postwar period in the United States. Originally founded in 1883, Ladies Home Journal emerged from World War II as the most popular and highly circulated women’s magazine. Husband and wife duo Bruce and Beatrice Gould served as co-editors-in-chief from 1935 to 1962, and populated the magazine with numerous ambitious and talented female writers and editors. Many of these female staff members also married and had children, while maintaining their careers. During an era where employees discriminated against women in the workplace, Ladies Home Journal employed women and published numerous articles supporting women in the workplace. In 1963, Betty Friedan claimed that women’s magazines only perpetuated the idealized, feminine housewife, but I argue that her argument oversimplifies the complexities women’s magazines represented during the 1950s. Divided intro three chapters, I analyze the shifting working conditions for women between the 1940s and 1950s, then unearth the working culture of Ladies Home Journal during the postwar period through an analysis of the editors, writers, and articles. Lastly, I examine three female journalists, Dorothy Thompson, Betty Hannah Hoffman, and Maureen Daly who all regularly contributed to the Journal.