Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.

Abstract The present study analyses the role of women in the Roman Catholic Church and the main question addressed is: “How do women construct and maintain an adult Catholic identity in the light of social, political, economic and religious changes?” In order to answer this question I began with grounded theory which enabled me to locate my research in the everyday lives of the study participants. In the course of the research I made a methodological shift to an institutional ethnographic approach in order to better understand the women’s lives as Catholics. One of the major tenets of an institutional ethnographic approach is that in modern bureaucratic organisations the authority and instructions of institutions and organisations are carried via the texts they produce. These texts can be written texts or they can be videos, film, etc. Because they carry the authority of the institution or organisation texts have the power to shape people’s lives and co-ordinate their everyday activities with multiple others, without, however, wholly determining them. In common with other major organisations the Roman Catholic Church is a large, worldwide organisation which relies on the texts it produces to carry its instructions and authority into the homes, churches and personal lives of its members. The greatest production of written texts by the Catholic Church in the modern era took place at the Second Vatican Council (1962-1965). While many feminist scholars have dismissed the Council proceedings as saying very little about women in particular, I argue that the Councillors’ writings in several major texts have strongly and specifically impacted the lives of contemporary Catholic women. Consequently, while all the texts produced by the bishops at the council can be considered of interest to practising Catholics generally, in this study I have chosen to focus on texts that related to issues that have proved to be of particular interest to the participants of this research study: the role of the laity in the church, Mariology and marriage. In order to carry out the research involved in this study I interviewed thirty women in Australia and thirty women in Ireland between the ages of 55 and 19 years of age. The Australian women immigrated to Australia during the years 1970 and 1997. All of the participants had been baptised into the Roman Catholic Church as babies and they all underwent a similar socialisation process growing up in Ireland.

Abstract The present study analyses the role of women in the Roman Catholic Church and the main question addressed is: “How do women construct and maintain an adult Catholic identity in the light of social, political, economic and religious changes?” In order to answer this question I began with grounded theory which enabled me to locate my research in the everyday lives of the study participants. In the course of the research I made a methodological shift to an institutional ethnographic approach in order to better understand the women’s lives as Catholics. One of the major tenets of an institutional ethnographic approach is that in modern bureaucratic organisations the authority and instructions of institutions and organisations are carried via the texts they produce. These texts can be written texts or they can be videos, film, etc. Because they carry the authority of the institution or organisation texts have the power to shape people’s lives and co-ordinate their everyday activities with multiple others, without, however, wholly determining them. In common with other major organisations the Roman Catholic Church is a large, worldwide organisation which relies on the texts it produces to carry its instructions and authority into the homes, churches and personal lives of its members. The greatest production of written texts by the Catholic Church in the modern era took place at the Second Vatican Council (1962-1965). While many feminist scholars have dismissed the Council proceedings as saying very little about women in particular, I argue that the Councillors’ writings in several major texts have strongly and specifically impacted the lives of contemporary Catholic women. Consequently, while all the texts produced by the bishops at the council can be considered of interest to practising Catholics generally, in this study I have chosen to focus on texts that related to issues that have proved to be of particular interest to the participants of this research study: the role of the laity in the church, Mariology and marriage. In order to carry out the research involved in this study I interviewed thirty women in Australia and thirty women in Ireland between the ages of 55 and 19 years of age. The Australian women immigrated to Australia during the years 1970 and 1997. All of the participants had been baptised into the Roman Catholic Church as babies and they all underwent a similar socialisation process growing up in Ireland.

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

As memórias The Speckled People e The Sailor in the Wardrobe, lançadas em 2003 e 2006 respectivamente, narram de forma ficcional a infância, adolescência e início da vida adulta do escritor irlandês Hugo Hamilton. A narrativa relata a complicada formação identitária do autor-personagem no período de grandes transformações depois da Segunda Guerra Mundial e em meio as suas ascendências alemã e irlandesa. O ponto de partida desta pesquisa é a afirmação de que a identidade herdada de seus pais é como um pecado original e que ele deve crescer para encontrar a sua inocência. Essa afirmação inicia um projeto de transformação identitária. O objetivo da presente dissertação de mestrado é analisar e problematizar o percurso de transformação identitária vivido pelo personagem. Entendemos que há um sentimento de culpa, individual e histórica, em sua relação as suas identidades herdadas. Dessa forma, buscamos averiguar como esse sentimento o interpela em sua busca pela inocência e por um novo tipo de identidade. Além disso, nos propomos também a estabelecer um diálogo com várias perspectivas teóricas acerca do conceito de identidade para compreender os possíveis desdobramentos desse percurso e constatar se o personagem consegue encontrar a inocência que deseja através da reformulação de sua identidade hereditária. / The memoirs, The Speckled People and The Sailor in the Wardrobe, written by the Irish writer Hugo Hamilton and published in 2003 and 2006, narrate the authors complex process of identity formation, considering his German, Irish and English ancestry in a period of great transformations after the World Wars. According to the author, his identity was inherited at birth and he carried the Irish and German traditions, like an original sin. He says he wants to grow up and gain his innocence. This marks the beginning of his project to transform his identity. The objective of this M.A. dissertation is to analyse the process of his identity transformation. As we see it, there is an individual and historical feeling of guilt attached to his inherited identity. Therefore, we seek to understand how this feeling interferes in his pursuit of innocence and of a new kind of identity. In order to do so, this work aims to establish a dialogue with various theoretical perspectives in relation to the concepts of identity to understand the possible effects of this process of his self-assertion and whether he can eventually gain his innocence

As memórias The Speckled People e The Sailor in the Wardrobe, lançadas em 2003 e 2006 respectivamente, narram de forma ficcional a infância, adolescência e início da vida adulta do escritor irlandês Hugo Hamilton. A narrativa relata a complicada formação identitária do autor-personagem no período de grandes transformações depois da Segunda Guerra Mundial e em meio as suas ascendências alemã e irlandesa. O ponto de partida desta pesquisa é a afirmação de que a identidade herdada de seus pais é como um pecado original e que ele deve crescer para encontrar a sua inocência. Essa afirmação inicia um projeto de transformação identitária. O objetivo da presente dissertação de mestrado é analisar e problematizar o percurso de transformação identitária vivido pelo personagem. Entendemos que há um sentimento de culpa, individual e histórica, em sua relação as suas identidades herdadas. Dessa forma, buscamos averiguar como esse sentimento o interpela em sua busca pela inocência e por um novo tipo de identidade. Além disso, nos propomos também a estabelecer um diálogo com várias perspectivas teóricas acerca do conceito de identidade para compreender os possíveis desdobramentos desse percurso e constatar se o personagem consegue encontrar a inocência que deseja através da reformulação de sua identidade hereditária. / The memoirs, The Speckled People and The Sailor in the Wardrobe, written by the Irish writer Hugo Hamilton and published in 2003 and 2006, narrate the authors complex process of identity formation, considering his German, Irish and English ancestry in a period of great transformations after the World Wars. According to the author, his identity was inherited at birth and he carried the Irish and German traditions, like an original sin. He says he wants to grow up and gain his innocence. This marks the beginning of his project to transform his identity. The objective of this M.A. dissertation is to analyse the process of his identity transformation. As we see it, there is an individual and historical feeling of guilt attached to his inherited identity. Therefore, we seek to understand how this feeling interferes in his pursuit of innocence and of a new kind of identity. In order to do so, this work aims to establish a dialogue with various theoretical perspectives in relation to the concepts of identity to understand the possible effects of this process of his self-assertion and whether he can eventually gain his innocence

This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.

This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.

Esta dissertação de mestrado propõe-se a apresentar um estudo sobre a obra ficcional de Seamus Deane Reading in the Dark à luz das recentes idéias sobre a redefinição do conceito de identidade norte-irlandesa. No pano de fundo deste romance autobiográfico, identificamos a presença de episódios históricos envolvendo o choque entre unionistas pró-britânicos e Nacionalistas irlandeses, que levou ao conflito conhecido como "The Troubles". Esses episódios, e suas conseqüências, são apresentados através da perspectiva de um protagonista autodiegético, que relata três décadas, de 1940 a 1960. Enquanto o personagem cresce, sua percepção obviamente vai-se alterando. O efeito final da minha leitura do romance - que foi escrito na década de 1990 - é a abertura de uma nova perspectiva, relacionada com a necessidade de redefinir questões da nacionalidade irlandesa. Reading in the Dark é um romance sobre contradições entre duas culturas que não conseguem - mas necessitam - co-existir, vistas através da perspectiva de um adolescente inteligente e bem intencionado. Este texto literário oferece uma formulação sobre os novos avanços a em relação às questões de identidade e tolerância, as quais podem ser abordadas de três formas: o conflito pode ser analisado internamente, através da oposição entre as comunidades Católicas e Protestantes, ou externamente, considerando os interesses da ilha da Irlanda, em oposição aos oitocentos anos de dominação inglesa. A terceira solução propõe uma redefinição de todos os conceitos implicados. Como conseqüência dessa crise, o romance denuncia e redefine os sistemas políticos usados como instrumentos de dominação e de manutenção e validação do choque entre as duas ideologias existentes que levaram ao sectarismo no território da Irlanda do Norte. A discussão levada a cabo nesta dissertação está baseada nos presentes debates sobre estudos culturais, especialmente como propostos por Terry Eagleton e por outros membros do "Field Day Theatre Company", que analisam as questões relativas à identidade. Esses intelectuais escolheram reavaliar as narrativas dominantes sobre a Irlanda, incluindo a formação dos mitos que motivou o acirramento dessa hostilidade contra a parte oposta. Esta dissertação está estruturada em três capítulos principais. Dois deles contextualizam o plano de fundo da narrativa e da agenda política crítica do "Field Day Theatre Company". O capítulo de análise é centrado em treze cenas fortes selecionadas do romance, as quais são comentadas a partir de considerações tecidas nos limites dos capítulos anteriores. No final do trabalho, eu espero validar a importância do romance autobiográfico de Seamus Deane Reading in the Dark no processo de reexame dos discursos que levaram à falta de comunicação entre duas comunidades que vivem em um mesmo território. / This thesis consists of a study of Seamus Deane's Reading in the Dark in the light of recent ideas regarding the redefinition of the concept of Northern Irish identity. In the background of this auto-biographical novel we identify the presence of historical episodes involving the clash between British Unionists and Irish Nationalists, which led to the conflicts known as "The Troubles." These episodes, and their consequences, are presented through the filter of an autodiegetic protagonist/narrator, through a time-span of three decades, from the 1940s to the 1960s. As the character grows, perception is obviously altered. The final effect of my reading of this novel - which was written in the 1990's - is the opening a new perspective, related to the need of redefining issues of national identity. Reading in the Dark is a novel about the contradictions between two cultures which cannot - but must - co-exist, as seen through the eyes of one growing perceptive, well-meaning intelligent young man. This literary text offers a statement about a new advance towards the issues of identity and toleration, which can be approached in three ways: the conflict can be analyzed internally, through the opposition between the Catholic and the Protestant parts of the community; or externally, considering the interests of the island of Ireland, as opposed to eight-hundred years of English domination. The third solution proposes a redefinition of all concepts implied. As a consequence of this crisis, the novel simultaneously denounces and redefines the political systems used as instruments of domination, and the maintenance and validation of the clash between the two existing ideologies that led to sectarianism within the northern territory. The discussion held in this thesis is based on the present state of the debate regarding Cultural Studies, especially as proposed by Terry Eagleton and by other members of the Field Day Theatre Company, who analyze the questions concerning identity. These intellectuals choose to revaluate the dominant narratives about Ireland, including the formation and the use made of myths that have heightened the sense of hostility against the opposite part. This thesis is structured in three main chapters. Two of them contextualize the background of the narrative and present the critical-political agenda of the Field Day Theatre Company. The chapter of analysis centers on thirteen strong scenes selected from the novel, which are woven within the framing previous chapters. At the end of the work, I hope to validate my belief in the social function of literature, by stressing the importance of Seamus Deane's Reading in the Dark in this process of re-examination of old discourses that led to the failure of communication between the two communities living in the same territory.

Esta dissertação de mestrado propõe-se a apresentar um estudo sobre a obra ficcional de Seamus Deane Reading in the Dark à luz das recentes idéias sobre a redefinição do conceito de identidade norte-irlandesa. No pano de fundo deste romance autobiográfico, identificamos a presença de episódios históricos envolvendo o choque entre unionistas pró-britânicos e Nacionalistas irlandeses, que levou ao conflito conhecido como "The Troubles". Esses episódios, e suas conseqüências, são apresentados através da perspectiva de um protagonista autodiegético, que relata três décadas, de 1940 a 1960. Enquanto o personagem cresce, sua percepção obviamente vai-se alterando. O efeito final da minha leitura do romance - que foi escrito na década de 1990 - é a abertura de uma nova perspectiva, relacionada com a necessidade de redefinir questões da nacionalidade irlandesa. Reading in the Dark é um romance sobre contradições entre duas culturas que não conseguem - mas necessitam - co-existir, vistas através da perspectiva de um adolescente inteligente e bem intencionado. Este texto literário oferece uma formulação sobre os novos avanços a em relação às questões de identidade e tolerância, as quais podem ser abordadas de três formas: o conflito pode ser analisado internamente, através da oposição entre as comunidades Católicas e Protestantes, ou externamente, considerando os interesses da ilha da Irlanda, em oposição aos oitocentos anos de dominação inglesa. A terceira solução propõe uma redefinição de todos os conceitos implicados. Como conseqüência dessa crise, o romance denuncia e redefine os sistemas políticos usados como instrumentos de dominação e de manutenção e validação do choque entre as duas ideologias existentes que levaram ao sectarismo no território da Irlanda do Norte. A discussão levada a cabo nesta dissertação está baseada nos presentes debates sobre estudos culturais, especialmente como propostos por Terry Eagleton e por outros membros do "Field Day Theatre Company", que analisam as questões relativas à identidade. Esses intelectuais escolheram reavaliar as narrativas dominantes sobre a Irlanda, incluindo a formação dos mitos que motivou o acirramento dessa hostilidade contra a parte oposta. Esta dissertação está estruturada em três capítulos principais. Dois deles contextualizam o plano de fundo da narrativa e da agenda política crítica do "Field Day Theatre Company". O capítulo de análise é centrado em treze cenas fortes selecionadas do romance, as quais são comentadas a partir de considerações tecidas nos limites dos capítulos anteriores. No final do trabalho, eu espero validar a importância do romance autobiográfico de Seamus Deane Reading in the Dark no processo de reexame dos discursos que levaram à falta de comunicação entre duas comunidades que vivem em um mesmo território. / This thesis consists of a study of Seamus Deane's Reading in the Dark in the light of recent ideas regarding the redefinition of the concept of Northern Irish identity. In the background of this auto-biographical novel we identify the presence of historical episodes involving the clash between British Unionists and Irish Nationalists, which led to the conflicts known as "The Troubles." These episodes, and their consequences, are presented through the filter of an autodiegetic protagonist/narrator, through a time-span of three decades, from the 1940s to the 1960s. As the character grows, perception is obviously altered. The final effect of my reading of this novel - which was written in the 1990's - is the opening a new perspective, related to the need of redefining issues of national identity. Reading in the Dark is a novel about the contradictions between two cultures which cannot - but must - co-exist, as seen through the eyes of one growing perceptive, well-meaning intelligent young man. This literary text offers a statement about a new advance towards the issues of identity and toleration, which can be approached in three ways: the conflict can be analyzed internally, through the opposition between the Catholic and the Protestant parts of the community; or externally, considering the interests of the island of Ireland, as opposed to eight-hundred years of English domination. The third solution proposes a redefinition of all concepts implied. As a consequence of this crisis, the novel simultaneously denounces and redefines the political systems used as instruments of domination, and the maintenance and validation of the clash between the two existing ideologies that led to sectarianism within the northern territory. The discussion held in this thesis is based on the present state of the debate regarding Cultural Studies, especially as proposed by Terry Eagleton and by other members of the Field Day Theatre Company, who analyze the questions concerning identity. These intellectuals choose to revaluate the dominant narratives about Ireland, including the formation and the use made of myths that have heightened the sense of hostility against the opposite part. This thesis is structured in three main chapters. Two of them contextualize the background of the narrative and present the critical-political agenda of the Field Day Theatre Company. The chapter of analysis centers on thirteen strong scenes selected from the novel, which are woven within the framing previous chapters. At the end of the work, I hope to validate my belief in the social function of literature, by stressing the importance of Seamus Deane's Reading in the Dark in this process of re-examination of old discourses that led to the failure of communication between the two communities living in the same territory.