Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 245-252).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1997. / Abstract and vita. Includes bibliographical references (leaves 76-77).

Bakgrund: Stroke är en stor dödsorsak i Sverige, men fler och fler överlever tack vare den vård och kunskap som finns i landet. Stroke drabbar ofta någon både fysiskt och psykiskt. De flesta strokedrabbade får en funktionsnedsättning och behöver stöd från andra vilket gör att närstående ofta får en betydande roll. Syfte: Syftet var att belysa närståendes upplevelse av att vårda och leva nära en vuxen person som drabbats av en stroke. Metod: Arbetet är en litteraturöversikt baserad på 14 vetenskapliga artiklar. Resultat: Resultatet presenteras i fem kategorier. Hur närstående upplever den förändrade livssituationen, hur deras egen hälsa påverkas av oro och ångest, osäkerheten kring mediciner och omvårdnaden, upplevelsen av brist på egentid samt hur närstående ser det positiva i situationen. Diskussion: Många negativa och betungande upplevelser framkom hos närstående i litteraturöversikten. Detta tyder på att närstående är i ett besvärligt läge och behöver all stöd och hjälp de kan få. Travelbee förklarar i sin omvårdnadsteori hur sjuksköterskan kan hjälpa närstående och den strokedrabbade i den nya livssituationen.Slutsats: Studien visar att det som hänt den strokedrabbade påverkar även den närstående. Därför är det viktigt för sjuksköterskan att ge stöd till hela familjen. / <p>Godkännande datum: 2017-11-06</p>

In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.

There is an inherent, unspoken trauma prevalent amongst the Irish men who dominate James Joyce's narratives. Often, these characters trace back to Joyce's own life and his drawing of them is thereby complicated by memory. Through literary trauma theory, the behavior of these men is better understood. Grounded in Freudian concepts, modern trauma theorists elucidate the problems of memory and response for those marked by traumatic experience. For the Irish, and thus for Joyce's characters, that response often comes through the binary of alcohol and the Church. The purpose of this essay is an attempt to verbalize the silence that surrounds those individuals marked by trauma and to shed greater light on the already vivid Irish men that Joyce creates.

This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.

The ‘Uncreated’ Voice of a Nation: James Joyce and the Twentieth Century Irish Bildungsroman places James Joyce’s A Portrait of the Artist as a Young Man in conversation with numerous later twentieth century Bildungsromane to argue that texts by Edna O’Brien, John McGahern, Roddy Doyle, Patrick McCabe, Jamie O’Neill, Eimear McBride, Seamus Deane, and Bernard MacLaverty examine the tension between liberation and oppression, hope and despair, to explore the complexities of these tensions untapped by Joyce, paradoxically producing darker conclusions in the Free State/Republic than in the North. I suggest that the postcolonial Irish writer feels greater anxieties about allowing the form of the Bildungsroman any sense of resolution than his/her colonial, Northern Irish counterpart. If one views liberation from colonial rule as a future event, that future is “uncreated” in its brightly-colored potential. If one views liberation from colonial rule as a past event, the present is instead an examination of the failures of revolution and the lingering ghosts of colonial rule that often appear in the guise of these very revolutionary failures.

No description available.

Informe de Seminario para optar al grado de Licenciado en Filosofía. / En este trabajo se presenta el nihilismo de Nietzsche como estructura que se devela en la obra el Ulises de James Joyce. Nietzsche acusó la posición fundamental del hombre con respecto a la vida: su negación. Denunció el nihilismo como la historia del hombre como historia universal. Se trata de una sola y misma historia jalonada principalmente por Hegel, Feuerbach y Stirner. Dios ha muerto, pero Nietzsche desconfía de esta muerte. El Dios trascendente ha muerto para volverse cosmopolita; el Dios-Hombre ha muerto para volverse Hombre-Dios; el Hombre-Dios ha muerto para volverse cada uno por sí mismo Dios. De Dios al Hombre y de éste al Yo.

No description available.