Este trabalho discute as implicações do tempo na História, da História no romance e do romance nas vanguardas; trata da crise do romance no início do século XX e da ascensão das vanguardas; relaciona essa crise com a crise do racionalismo que resultará em obras de arte complexas como o livro Finnegans Wake de James Joyce, um livro considerado por muitos como ilegível e que não poderia ser traduzido. Este trabalho considera também que para se traduzir uma obra Finnegans Wake seria necessário, mais do que uma técnica, uma estética da tradução. Partindo de uma estética da tradução, elaboramos um critério específico para a tradução de Finnegans Wake, a qual apresentamos ao final deste trabalho, acompanhada de notas e de um glossário dos termos usados no original e na tradução. / This thesis deals with the implications of time in History, History in the novel, and with the novel in the avant gardes. It also examines the crisis of the novel at the beginning of 20th century and the rise of the avant gardes, and relates this crisis to the crisis of rationalism that would result in complex works of art such as Finnegans Wake, believed by many to be unreadable and untranslatable. It then proposes that in order to translate Finnegans Wake a whole aesthetics of translation is necessary in order to express the complex workmanship involved in its creation. Bearing in mind this aesthetics of translation, the thesis then elaborates a specific criterion to translate Finnegans Wake, which is presented in the final section, followed by notes and a glossary of original and translated terms.

Bakgrund: Världshälsoorganisationen uppskattar att 200 miljoner kvinnor lever med könsstympning världen runt. Könsstympning är en traditionell procedur som ger omfattande komplikationer för kvinnans kropp och psyke samt kränker mänskliga rättigheter. Den grundutbildade sjuksköterskan har huvudansvaret för omvårdnaden och bör erbjuda kvinnan god personcentrerad vård. Därmed är kunskap om olika aspekter av könsstympning nödvändig. Syfte: Att undersöka hur kvinnor som blivit könsstympade upplever mötet med hälso- och sjukvården avseende bemötande, kunskap och stöd. Metod: Allmän litteraturöversikt baserat på 9 kvalitativa vetenskapliga artiklar från databaserna Pubmed och CINAHL. Resultat: De könsstympade kvinnornas upplevelser utmynnades i nio subkategorier;“Positiva upplevelser av mötet med sjukvården”, “Negativa attityder från sjukvårdspersonalen”, “Upplevelsen av att känna sig annorlunda och som ett studieobjekt”, “Sjukvårdspersonalens kunskap om könsstympning,” “Sjukvårdspersonalens brist på kunskap, “Information om möjligheter och risker”, “Språket - en tillgång eller ett hinder”, “Anpassat stöd” och “Bristande stöd”. Resultatet visade ett behov av ytterligare teoretisk och praktisk utbildning inom könsstympning och även en utökad kulturell medvetenhet för att förbättra hanteringen av denna patientgrupp. Slutsats: Könsstympade kvinnor upplevde en trygghet när sjukvårdspersonalen toghänsyn till kvinnornas behov och hanterade mötet väl. Trots detta var de negativa upplevelser mest framträdande, dessa baserades på sjukvårdspersonalens bristande kulturell kompetens och kunskap om könsstympningen samt kommunikationssvårigheter. I takt med den ökade migrationen till Europa förväntas denna patientgrupp att öka, därmed behövs ytterligare forskning och utbildning inom detta fält för att förbättra vården för könsstympade kvinnor. / Background: World health organisation estimates that 200 million women are living with genital mutilation around the world. Female genital mutilation is a traditional procedure that causes extensive complications for the woman's body and mind and is a violation of human rights. The basic trained nurse has the main responsibility of the nursing care and should provide the woman with good patient-centered care. Therefore, knowledge about the different aspects of genital mutilation is necessary. Aim: To explore genital mutilated women’s experiences of the encounter with healthcare regarding approach, knowledge and support. Method: A literature review based on 9 qualitative scientific articles from the Pubmed and CINAHL databases. Result: The women’s experience culminated nine subcategories; “Positive experiences of the encounter with healthcare”, “Negative attitudes from the healthcare professionals”, “Theexperience of being different and being a subject of study”, “The healthcare professionals’ awareness regarding gender mutilation”, “The healthcare professionals lack of knowledge”, “Information regarding possibilities and risks”, “The language- a resource or an obstacle?”, “Customized support” and “Lack of support”. The results of this study demonstrated legitimate arguments for the necessity of broader understanding and training for health care professionals in order to improve the management of this patient group. Conclusion: Women with female genital mutilation experienced comfort when healthcare professionals took their needs into account and handled the encounter well. Regardless, the negative experiences were most prominent. These were based on healthcare professionals’ lack of cultural awareness and knowledge about genital mutilation as well as difficulties in communication. Due to the increased migration from countries where female genital mutilation is practised this patient group could be expected to increase in European healthcare, therefore more research and education within this field is needed in order to improve the care for genital mutilated women.

No description available.

This study is a detailed textual examination of the word "parallax" in Ulysses. It distinguishes three levels of meaning for the word in the novel. In the first level, parallax functions as a character motif, a detail, first appearing in and conforming to the realistic surface of Bloom's inner monologue, whose meaning is what it tells of his crucial problems of identity. In the second, parallax functions as an integral part of the symbolic complex, lying outside of Bloom's perceptions, surrounding the emblem of crossed keys, symbol of, among other things, paternity and homerule, two major narrative themes. The third level involves parallax as a symbol informing the novel's overriding theme of the writing of Ulysses itself and of the relationship between the novel's representative life and artistic design.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 217-233). Also available online in ProQuest, free to University of Oregon users.

Error theory turns on a particular presupposition about the conceptual commitments of moral realism, namely that the moral facts posited by realists need to be categorical. True moral propositions are said to have an absolute authority in their prescriptions in the sense that an agent, regardless of her own ends, needs or desires, is categorically obligated and has reason to act in accordance with their prescriptions. But, nothing in the world has such a queer property as categoricity, and therefore we ought to be suspect of the enterprise of moral discourse. Some philosophers, like Stephen Finlay, have argued that this categoricity is not a necessary feature of moral language, and in so doing hope to have shown that the error theoretic critique is thus refuted. In this article I offer a survey of the literature on this topic and then contribute independent motivations for siding with those who think moral facts need not be categorical (and that a powerful argument for error theory is defused).

James Joyce's Finnegans Wake is known as one of the most difficult texts in all of literature. A one-to-one relationship, however, between a decoding reader and a presenting author is something Finnegans Wake does not incorporate in any traditional sense. Because of the ways in which Joyce manipulates language through assonance and multilingual references, his words are essentially freed from their dictionary definitions and rely instead on connotations. This essay looks at the text from the perspective of a first reading, a look that is then compared to a more 'authoritative' stance found in various glossaries, to see if the information found there takes precedence over the reader's imagination, and if self-made meanings remain 'appropriate' in the face of the explanations. The text is shown to become more of a device with which we produce meaning, rather than a story to which we are only passively listening or otherwise trying to understand. Instead, it celebrates obscure, often contradicting sense relations, which correspond to the dream-like nature of its nocturnal theme. Despite the sheer amount of historical references contained within, the first-time reader can proceed without the many glossaries that have been written on the work, and instead rely on a more creative and less disciplined method of examination. This essay is thus tainted with an inherent contradiction—it questions the transcriptive act epitomized by eager textual scholars set on elucidating the text's difficulties while simultaneously committing that act, but only in order to encourage readers that Finnegans Wake otherwise scares away and to suggest an alternate method of reading. Readers are thereby asked to relieve themselves of their domesticated behavior, and get involved. The difficulty of Finnegans Wake only appears when we read it in terms of conventional understanding, and should instead encourage us into becoming creative users.

In James Joyce criticism, and by implication Irish and modernist studies, the word paralysis has a very insular meaning. The word famously appears in the opening page of Dubliners, in “The Sisters,” which predated the collection’s 1914 publication by ten years, and in a letter to his publisher Grant Richards. The commonplace conception of the word is that it is a metaphor that emanates from the literal fact of the Reverend James Flynn’s physical condition the narrator recalls at the beginning of “The Sisters.” As a metaphor, paralysis has signified two immaterial, or spiritual, states: one individual or psychological and the other collective or social. The assumption is that as a collective and individual signifier, paralysis is the thing from which Ireland needs to be freed. Rather than relying on this received tradition of interpretation and assumptions about the term, I consider that paralysis is a two-sided term. I argue that paralysis is a problem and a solution and that sometimes what appears to be an escape from paralysis merely reinforces its negative manifestation. Paralysis cannot be avoided. Rather, it is something that should be engaged and used to redefine individual and social states.

This thesis serves as documentation of my personal, intellectual, and physical process as an actor in creating the role of Miss Margarida in Miss Margarida's Way by Roberto Athayde. This document includes research, script analysis, character analysis, rehearsal journal, and an assessment of my performance. The University of New Orleans Department of Film, Theatre and Communications Arts in New Orleans, Louisiana produced Miss Margarida's Way during the Fall 2008 season. Miss Margarida's Way was performed in the Lab Theater of the Performing Arts Center at 7:30 pm December 3 at 6 with a matinee at 2:30pm on Sunday December 7th 2008.

I denna uppsats kommer jag analysera flickskildringen i två ungdomsromaner, Freaky green eyes och Two or three things I forgot to tell you av Joyce Carol Oates. Romanernas flickor bär på pendlande känslor av begär och avsky både inför sig själva och sina föräldrar. Därför har Julia Kristevas teorier kring abjektion som förklarar dessa motstridiga känslor som en del av subjektets tillblivelse varit fruktsamma för min analys. Flickorna söker tillgång till språket och makten genom en identifikation med sina pappor och manliga värden samt ett bortstötande av sina mammor och allt som representerar det kvinnliga. Men för att må bra och kunna uttrycka sin egen sanning krävs ett omfamnande av mammorna och den egna kvinnligheten vilket när de tillslut fullbordas får flickorna att hitta inre harmoni och sin egen röst.