No description available.

The purpose of this study is to examine whether there is any connection between working hours, desired working hours and the worker ́s health. The study also aims to investigate if there are any differences over time. Earlier studies have shown that individuals need a balance in their life between worked hours and free time. This balance seems to be important for employees if they want to lead and remain a healthy lifestyle. If the employed doesn’t feel satisfied with his or her working hours then the balance can get disrupted which could lead to a number of health problems. There are a lot of studies that aim to explain the relationship between working hours and health. There is a missing area which examines the relation between desired working hours and the worker`s health. Therefore, this topic is interesting to study more closely. The study is conducted using data from the Swedish survey of living condition panel (ULF). The panels consist of people between 16 to 84 years old. The study started in 1975. Since 1979 the study has been conducted at 8 yearly intervals. The data is administrated by Statistic Sweden (SCB). Three hypotheses have derived from previous research 1; employees who are satisfied with their work hours are least fatigued 2; the relation between working hours and desired working hours has bigger effects on women than men. 3; women who are satisfied with their working hours are less fatigued over time. The results showed that people who are working fulltime or part time with a desire to work less are feeling most fatigued. People who are satisfied with their working hours are least fatigued. The relation between working hours and desired working hours has bigger effects on women then men. Women who are working part time are feeling less fatigued over time.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

The article is about the mythopoeic idea of unity and interrelation of the human being and the Cosmic life, and its interpretation given in the texts of W. Shakespeare’s works. The human being, as represented in W. Shakespeare’s works, can be considered on three levels: personal, social and cosmic. As a person, a Shakespearean character is defined not only by his / her mind only, but also by the body. In the plays we see individuals of different gender, age, health and appearance. All these characteristics are relevant to the behavior of the individual and the response they get. Shakespeare skillfully shows different affects, and some states that can be explained with the help of the modern notion of hormones. All this was quite revolutionary for his epoch. Thus a human being is described as a creature with the complex psycho physiological constitution. One of the most important words in this context is "heart" that unites both physical and spiritual spheres. It brings to memory Ukrainian tradition of Cordocentrism, especially in P. Yurkevich’s interpretation. The metaphor of "body" is sometimes used in the pays to describe a social unity. Shakespeare was not a revolutionary, or even a political radical. Sometimes he shows the common people as politically deluded and easily lead. But mostly the commoners are portrayed as persons possessing the common scene and the moral standards, that guarantee the return to norm after social and political upheavals. It is important to note, that Shakespeare shows the kings as persons with weaknesses and problems, who must work hard to keep themselves and their country in order. In many plays he makes his monarchs declare the principal equality of human beings, with all the social differences appearing as secondary and transitory characteristics. Moreover, the same can be said about all the differences, underneath which all the humans are basically the same creatures with the same wants. All of them can suffer and thus are worthy of sympathy. There are some hints that animals can also be seen in the same context. This thought foreshadows the contemporary notion of animal rights an human responsibility for the planet. On the Cosmic level, the human beings are shown as the integral parts of the greater whole. In many plays there are statements reflecting the medieval model of the Universe, which goes back to the mythopoeia. The basic concept is the interrelation between the state of a person, of social group and of the world. Both the nation and its ruler were hold responsible for the cosmic state of affairs. The violation of the "Truth of the King" may have lead to turning the country into the Wasteland. This important mythologeme underlies all the plot of "King Lear". Taking this into consideration helps us to understand many obscure points. One of them is the behavior of the protagonist, that was traditionally explained only as the complete unreason of a madman who in the times of crisis asks irrelevant questions. In truth, Lear asks about the cause of the apocalyptical storm, which, on his opinion, was the direct result of some great sin. It is very close to the Greek belief, reflected in Sophocles’ "Oedipus", where the plague was sent by gods to punish the ruler’s crime. This belief also explains why in all Shakespearean plays – again, most noticeably in "King Lear" – there is an obligatory explanation in the finale. All the characters must tell their story and their confessions should be taken as forming the part of one general story. Shakespeare shows that the truth must be known and upheld, whatever the cost. Only thus the normal personal, social and cosmic life can continue. It doesn’t mean that all the plays are what was in the Soviet tradition called the "optimistical tragedies". Sometimes the losses are too great and the future is dubious. But it is the revealing of the human and cosmic truth that makes any future possible. In "King Lear" we also see the non-Aristotelian formula of catharsis, that sums up all the meaning of the suffering and losses: a person must learn compassion to restore or compensate what was destroyed in the blind egotistical strife. All these deeper senses of the plays, revealed by means of applying the principles of culturological hermeneutics, reflect the vestiges of the ancient belief in the human responsibility for the general state of the world. Such ideas, discarded by the Modern European Rationalism, are re-actualized in our times of the global ecological crisis, that demands a new level of awareness and new struggle with the human selfishness on all the levels: personal, social and universal. Taking into consideration these hidden meaning allows us deeper understanding of the Shakespearean tragedy. It can have both theoretical and practical importance, the latter being connected with the outlook-forming role of art. In the post-soviet theatres there is a tendency to turn the tragedies into the absurdist plays. It is an easy way for a director. But now it is more important to show that something can be, and must be done.

This thesis has examined the moon and sun imagery of Yeats's Last Poems (1936-1939), contrasting the diminution and transmutations of astronomical imagery with its rich symbolic development from 1889 to 1936. Using lyric poetry of The Collected Works of W. B. Yeats and selected prose works of William Butler Yeats, the study has traced the multiple antinomial forces embodied in moon and sun and the change in imagery that marked Yeat's poetic growth. The thesis has discussed vestiges of overt moon and sun imagery in Last Poems, Yeats's reasons for the changes that characterize his career, and the substitutes that replaced moon and sun.

This thesis has been a study of strategies employed in the poetry of W. B. Yeats. Specifically, it has treated five poems important in Yeats' development as a poet: "The Song of Wandering Aengus"; "The Wild Swans at Coole"; "Leda and the Swan"; "Lapis Lazuli"; "Long-Legged Fly." It has demonstrated certain devices used in the composition of the poems. In short, it has been an explication of the poems.Further, this thesis has revealed Yeats' concern for art as a subject for poetry. It has revealed that early in his development, Yeats was concerned with art and the individual, and that later in his development, he was concerned with art and civilization.

In addition to being a respected poet, dramatist, essayist, and statesman, William Butler Yeats was a dedicated student of the occult and practicing magician for most of his adult life. In spite of his dedication, Yeats’ commitment to occultism has often been ridiculed as “bughouse” (as Ezra Pound put it), shunted to the margins of academic discourse, or ignored altogether. Yeats’ occult-focused prose fiction—the occult trilogy of stories “Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi” and the unfinished novel The Speckled Bird—has often received similarly dismissive treatment. Some critics have accused Yeats of being an escapist or of being out of touch with the intellectual currents of his time. However, Yeats was in touch with the intellectual currents of his time, one of which was the late nineteenth- and early twentieth-century occult revival. This was not a fringe movement; it was one which intersected with some of the most pressing social and cultural issues of the time. These include the dissatisfaction with mainstream religions, the renegotiation of women’s roles, the backlash against science, and nationalism and the colonial enterprise. This intersection is what I have termed occulture. The central purpose of this dissertation is twofold. First, I demonstrate the cultural and academic relevance of the occult revival by analyzing its connections to these critical issues. Second, I situate the occult trilogy and The Speckled Bird as artifacts of the occult revival and its associated facets. Through its main characters, the occult trilogy illustrates a fragmented self associated with literary modernism and with scientific challenges to individual identity from Darwin, Freud, and others. In addition, these three stories exemplify a sacralization of the domestic sphere which conflicts with the officially-sanctioned sacred spaces of mainstream religions. The Speckled Bird also reconfigures the sacred space as Michael Hearne contemplates a magical order with Irish nationalist implications. In examining these works within this historical context, I present them as texts which engage with the social and cultural landscape of the time. / Occulture : occultism and the occult revival -- The occult trilogy : self and space in an occult context -- The speckled bird : sacralizing Ireland. / Department of English

No description available.