Thesis (Ph. D.)--University of Oklahoma, 1999. / Includes bibliographical references (leaves 240-247).

Jennifer Johnston, a contemporary Irish novelist, has written nine novels thus far encompassing a wide thematic range. While her protagonists include both male and female, in the three novels, The Old Jest, The Christmas Tree, and The Invisible Worm we witness the emergence of a new kind of heroine: the female Bildungsroman protagonist. I begin my study with a discussion of the traditional Bildungsroman as a male project, which traces the growth and self-development of an adolescent as he approaches maturity. A reformulation is then established allowing for a female version of the genre while differentiating between stories of the failure of development, such as Jane Eyre, and Johnston's stories where development is realized. I propose to demonstrate how Johnston's works exemplify the Bildungsroman form and also explore questions relevant to female development such as the protagonist's relationship to work, to love, to family, to tradition, and to writing.

No description available.

Thesis (M. A.)--Memorial University of Newfoundland, 1997. / Bibliography: leaves 86-92.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Dennis D. Moore, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 18, 2006). Document formatted into pages; contains viii, 193 pages. Includes bibliographical references.

Looming large in the manifold problems of the Davis government after the clash of arms at Sumter was the creation of an army to defend the South. Involved in this problem was the extremely important task of expanding forces. No dearth of excellent officer material existed for some of the most able West Point graduates in the Union army had resigned and were eager to serve their section. The major problem was the question of relative rank to be assigned in the new chain of command.

La question de l’identité est au cœur de l’œuvre de Denis Johnston. Son théâtre revient de manière insistante sur l’histoire irlandaise, en particulier sur le processus de fabrication des mythes républicains qui transforment les meneurs des insurrections en héros de la nation, et dévoile l’écart entre les aspirations de ces grandes figures romantiques et les préoccupations fort terre-à-terre de ses contemporains au lendemain de la création de l’Etat Libre d’Irlande. La nation, telle qu’il la met en scène, semble s’être érigée sur les ruines de l’« identité irlandaise » telle que l’exaltaient les artisans de la Renaissance littéraire. Par ailleurs, Johnston met en crise la notion d’identité à l’échelle individuelle en interrogeant, par de nombreuses expérimentations dramaturgiques, le personnage de théâtre traditionnel : recours à l’allégorie, démultiplication des rôles pour un même personnage, sollicitation constante des jeux de rôles et de la métathéâtralité, le théâtre de Johnston fait la part belle à cette « crise du personnage » en laquelle Robert Abirached voit la marque du théâtre moderne. Notre hypothèse est que ces deux aspects de la dramaturgie johnstonienne sont les deux volets complémentaires d’une même critique du paradigme identitaire, dont il conviendra de définir les enjeux et les modalités. Nous analyserons conjointement les stratégies idéologiques et esthétiques que Johnston met en œuvre dans l'ensemble de ses pièces pour la scène, et montrerons qu'en démantelant les représentations figées d’une hypothétique « irlandité » pour mieux rendre à l’Irlande une identité multiple et mouvante, le dramaturge est peut-être, paradoxalement, l’un de ceux qui auront le mieux servi le projet des fondateurs du théâtre national irlandais. / Denis Johnston 's dramatic works question the notion of identity. They all focus on the history of Ireland and more especially on the way Irish rebels have been turned into national icons, although the materialistic culture developing in the young Irish Free State is at odds with the ideals of those Romantic figures. In his view, national identity has fossilized into clichés that jeer at the Irish Literary Revival. At the same time, his plays destabilize the notion of identity on an individual level, unsetting conventional stage characters. He stages the "crisis of the character" which, according to Robert Abirached, modern drama is concerned with. I argue that those two aspects of Johnston's work are the two sides of one and the same critique of the failure of conventional drama to convey identity on the stage. Studying the ideology that underpins Johnston's aesthetic experiments, I intend to show that the dramatist turns out to have paradoxically served the purpose of the founders of Irish national drama : he disfigures the clichés which supposedly embody Irishness, and thus allows the nation to imagine again its multifaceted identity.

This thesis investigates how the mapping of Africa by British institutions between c.1880 and c.1915 was more complex and variable than is traditionally recognised. The study takes three ‘cuts’ into this topic, presented as journal papers, which examine: the Bartholomew map-publishing firm, the cartographic coverage of the Second Boer War, and the maps associated with Sir Harry H. Johnston. Each case-study focuses on what was produced – both quantitative output and the content of representations – and why. Informed by theories from the history of cartography, book history and the history of science, particular attention is paid to the concerns and processes embodied in the maps and map-making that are irreducible to simply ‘imperial’ discourse; these variously include editorial processes and questions of authorship, concerns for credibility and intended audiences, and the circulation and ‘life-cycles’ of maps. These findings are also explored in relation to the institutional geography of cartography in Britain: the studies illustrate the institutional contingency of such factors and how this gave rise to highly variable representations of Africa. These three empirical papers represent the first sustained studies of each of the topics. By connecting their findings, the thesis also offers broader reconceptualisations of the British mapping of Africa between c.1880 and c.1915: with respect to cartographic representations, maps as objects, and the institutions producing them. Maps did not simply reflect ‘imperial’ discourse; they were highly variable manifestations of multifaceted and institutionally contingent factors and were mobile and mutable objects that were re-used and re-produced in different ways across different settings. Mapmaking institutions were discrete but interconnected sites that not only produced different representations, but played different roles in the mapping of Africa. By illuminating the institutional provenance, ‘life-cycles’ and content of the maps studied, this thesis extends current knowledge of British mapping of Africa during the late nineteenth and early twentieth centuries and raises questions for further research incorporating its lessons, sources and theories.

Syftet med uppsatsen var att undersöka den politiska utveckling som har präglat Ungern det senaste årtiondet, förankrat i Michael Johnstons teori om korruptionssyndrom. Studien tar avstamp i två frågeställningar som avsåg att besvara Ungern positionering inom det korruptionssyndrom som landet placerades inom år 2005, samt i vilken riktning landet tenderade att förflytta sig mot. Den metodologiska ansatsen för uppsatsen var en kvalitativ idealtypsanalys som genomfördes på det specifika fallet Ungern. Den främsta anledningen atttillämpa Ungern som ett empiriskt fall spelade in på den politiska ovisshet som råder i landet med premiärminister Viktor Orbán i regi. Ungerns statistiska klassificering har de dryga 10 åren kommit att reduceras drastisk i Transparency Internationals årliga korruptionsmätningar, samtidigt som den exekutiva makten medvetet har motarbetat en demokratisk utveckling. Utifrån de teoretiska faktorerna som spelar en stor väsentlig roll i uppsatsen, politiska möjligheter, ekonomiska möjligheter, statskapacitet samt ekonomiska institutioner har material samlats in för att besvara de ovannämnda forskningsfrågorna. Ett allomfattande resultat som går att urskilja, är att de politiska möjligheterna i Ungern ogynnsamt har kommit att förändras och sålunda kommit att påverka Ungerns positionering och riktning inom korruptionssyndromet elitkartell.

This dissertation examines how contemporary Irish women writers dismantle national conceptions linking Irish women to the hearth and home by offering an alternate version of women’s lived experience, which nationalist ideologies have simplified. I consider how these writers define “home”—the domestic, the familiar, the intimate—as complicated by sexuality, exile, and violence. Using Freud’s theory of the uncanny as a lens, I analyze how these writers question established social relations in order to uncover uneasy relationships to self, home, and homeland. In my project, postcolonial theory and transnational feminisms, coupled with trauma theory, facilitate the contextualization of the uncanny as a response to the hybrid identities, dislocations, and effects of violence on gender roles within the nation. The first two chapters examine Edna O’Brien’s later fiction, which unsettles conceptions of the nation by emphasizing the experiences of marginal figures, thereby questioning who belongs within the nation’s borders. The next two chapters on the fiction of Jennifer Johnston and Mary Beckett reveal how the crossing of the public into the private sphere exposes a paradoxical homespace that is both haven and prison for rich Anglo-Irish Dubliners and working-class Catholics in Belfast. The final chapter on Kate O’Riordan’s novels explores issues of exile, alienation, and trauma through a multi-generational lens, revealing how memories of “home” and fraught parent-child relationships at once hinder and facilitate identity formation. In the epilogue, I briefly discuss how contemporary Irish poetry could address the issues raised by the works of fiction examined in my project.