Dissertations / Theses: 'Irish and British art'

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Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.

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English
Ph.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses

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Heister, Iven Lucas. "Paralysis As “Spiritual Liberation” in Joyce’s Dubliners." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500199/.

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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.

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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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Griffith, Joann D. ""All Men are Builders": Architectural Structures in the Victorian Novel." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/316376.

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English
Ph.D.
Nineteenth-century Britain experienced a confluence of a rapidly urbanizing physical environment, radical changes in the hierarchical relationships in society as well as in the natural sciences, and a nostalgic fascination with antiquities, especially gothic architecture. The realist novels of this period reflect this tension between dramatic social restructuring and a conservative impulse to remember and maintain the world as it has been. This dissertation focuses on the word structure to unpack the implications of these opposing forces, both for our understanding of the social structures that novels reflect, and the narrative structures that novels create. To address these issues, I examine the architectural structures described in Victorian realist novels, drawing parallels with their social and narrative structures. In Charles Dickens's Little Dorrit (1855), George Eliot's Adam Bede (1859), and Thomas Hardy's The Mayor of Casterbridge (1886) and Jude the Obscure (1895), descriptions of houses and barns, churches and cathedrals, shops and factories, and courthouses and schools are thematically important because they draw our attention to the novels' interest in the social structures that underlie the fictional worlds they represent. Buildings provide spaces where members of a community may work towards a shared purpose; they also embody that community's common knowledge, values, and ideals. These novels take up the thematic concern with structure through their own formal narrative structuring work. Much like an architect builds a physical structure, novels build a narrative structure by carefully arranging patterns, sequences, proportions, and perspectives. An examination of a novel's description of a building reveals moments of self-reflexive consideration of the narratives it constructs. These are moments that interrogate the building materials of narrative and how their arrangement becomes meaningful, that consider what the narrative structure can accommodate and what it excludes, and that invite us to attend to the ways in which the act of structuring a narrative situates it in time, in relation to the past, present, and future. The choices an architect makes about ornaments and materials, the way a building integrates the surrounding environment, and the way its proportions compare to a human scale, all constitute a kind of language; moreover, the way people interact with, in, and around these built spaces suggests it is a dynamic and evolving language. Preeminent Victorian art and social critic John Ruskin's architectural treatise, The Seven Lamps of Architecture (1849) serves as a master key to interpreting the Victorian understanding of architectural language in the novels under investigation. Because Ruskin's writings pervaded mid-century artistic discourse, and because he turned his critical gaze on such a wide range of the mid-nineteenth century's most important aesthetic, social, philosophical, and ethical concerns, his work provides an invaluable bridge between the physical, social, and narrative structures in these novels. Each of Ruskin's "lamps" represents a specific architectural principle; each chapter in this project pairs a novel with a lamp with thematic and formal resonance.
Temple University--Theses

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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.

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Kennedy, Colleen Elizabeth. "Comparisons Are Odorous: The Early Modern English Olfactory and Literary Imagination." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437648106.

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Worman, Sarah E. Ms. ""Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.

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Linge, John. "British forces and Irish freedom : Anglo-Irish defence relations 1922-1931." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/1689.

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Anglo-Free State relations between the wars still awaits a comprehensive study ... This is in par a reflection of the larger failure of British historians to work on Anglo-Irish history '" the Right has been ill at ease dealing with Britan's greatest failure, whilst the Left has found tropical climes more suited for the cultivation of its moral superiority. When R.F.Holland made this apposite comment, just over a decade ago, he may have been adding to the very problems he identified. Writing within the context of the 'Commonweath Alliance', he was joining a distinguished list of British and Irish historians who have sought to fiter inter-war Anglo-Free State relations through the mesh of Empire-Commonweath development. Beginning with A. Berredale Keith in the 1920s, this usage continued in either direct or indirect form (by way of particular institutions of Commonweath) from the 1930s to the 1970s through the works of W.K. Hancock, Nicholas Mansergh and D.W. Harkness, and was still finding favour with Brendan Sexton's study of the Irish Governor-Generalship system in the late 1980s.2 But herein a contradiction has developed: cumulative study of the unnatural origins and performance of the Free State as a Dominion has moved beyond questions of function to ask whether the Free State was in fact ever a Dominion at alL. 3 As such, there seems ever more need to step back from inter-Commonwealth study and refocus on the precise nature of the Free State's central relationship with Britan in this period. It is of course acknowledged that outwith the established zones of internal Irish and Empire-Imperial study there is no home or forum for one of the most enduring quandares of modern Europea history. Even if it is accepted that 'pure' Anglo-Irish history did not end in 1922, the weight of research based on the ten yeas prior, as against the ten yeas subsequent, suggests an easy acceptance, on both sides of the Irish Sea, and Atlantic, of the absolute value changes in that relationship. Studies covering the transition to independence, such as those of Joseph M. CUITan and Sheila Lawlot, have taen only tentative steps beyond 1922, and may indeed have epitomised an approach that subsequent Irish studies have done little to dispel; in the 1980s, major overviews by RF. Foster and J.J. Le have been notably reluctant to evaluate the quality of that new found freedom with continuing reference to Ireland's giant neighbour. Though Foster, and others, have noted that the main aim of the Free State in the 1920s was 'self-definition against Britan', the point is the extent to which Britan was wiling to allow the same. There has then been little impetus for direct Anglo-Free State inter-war study, and although the tide has begun to turn since the mid-1980's, notably through the achievements of Paul Canning, Deidre McMahon and, shortly before his death, Nicholas Mansergh6, it is probable that we are stil a long way short of being able to produce a comprehensive and coherent review of the period. Apar from the crucial Anglo/Irish-Anglo/Commonwealth dichotomy,there remains the political chasm dividing the Cosgrave years of the 1920s from those of de Valera's 1930s; indeed the overwhelming preoccupation with post-1931 confrontations has often, as in the case of McMahon's fine study, taen as its contrasting staing point the supposedly compliant 'pro-Treaty' years of 1922-31. It is hard to bridge this gulf when the little direct work on these earlier years, mostly concentrating on the two fundamenta issues of Boundar and financial settlement, has tended not to question this divide. Although Irish historians have turned an increasingly sympathetic eye on the internal politics and problems of these early yeas, the apathetic external image, in contrast to the later period, has been persistent. Nowhere has this negativity been more apparent than on the, also vita, topic of defence relations. For a subject that has been given more than adequate attention in terms of the 1921 Treaty negotiations and the Treaty Ports issue of the 1930s, the period in between has had little intensive coverage. In this regard the negative response of W.K.Hancock in 1937, stating that Cosgrave did not bother to question British defence imperatives, was stil being held some fifty yeas later by Paul Canning.7 Thus an enduring and importt image has emerged of defence relations re-enforcing the above divide, an image that has had to stand for the lack of new reseach. This does not mea that the image is necessarly an entirely false one, but it does mean that many of the supposed novelties of the de Valera yeas have been built on largely unknown foundations. The Treaty Ports issue is also vita to this thesis, but then so are other defence related matters which had an impact specific to the 1920s. In other words, the human and political context of how both countries, but the Irish government in paricular, coped with the immediate legacy of centuries of armed occupation, with the recent 1916-21 conflct, and with the smaller scale continuity of British occupation, was bound to cast old shadows over a new relationship. But how big were these shadows? It was on the basis of placing some detaled flesh on the skeleton of known (and unknown) policies and events that this thesis took shape. Frustrations and resentments could tae necessarily quieter forms than those which characterised the 1930s, and in the end be no less significant. If the first objective is then to make solid the continuity of defence affairs, it is appropriate to begin with a brief evaluation of the Treaty defence negotiations before tang a close look at British operations in the South in 1922 - the year when a reluctant Cosgrave was to inherit a situation where British forces were close to the development of civil war. Despite our growing knowledge of Britan's part in the progress of that war, there is stil a general perception that its forces became peripheral to events after the Truce of July 1921, and that its Army was, and had been, the only British Service involved in the struggle against armed republicanism.This is simply not the case, and it is to be wondered whether the proper absorption of Irish historians with the internal dynamics of the period, together with the authoritative quality of Charles Townshend's history of the 1919-21 British campaign, have not produced inhibitions to wider inquiry. 8 In any event, as the Admiralty was to play a central par in later defence relations it seems right to introduce, for the first time, the Royal Navy's importt role in the events of 1922. The point here is to establish that the actions and perceptions of both Services were to have repercussions for later attitudes. After these chapters, the following two aim to look at the cumulative legacy of British involvement and how both countries adjusted to the many unresolved questions thrown up by the Treaty and the unplanned contingencies of 1922. Retaining the theme that neither country could escape the past, nor trust to the future, chapter six returns to the physical and political impact made by the continuing presence of British forces in and around the three Treaty Ports, and along and across the Border. The final two chapters explore how all these factors helped determine the conditions for, and consequences of, one of the most damaging episodes of the later 1920s - the complete failure of the joint coasta defence review scheduled for December 1926.In all, the cumulative emphasis on the politics of defence may ilustrate what it was to be a small aspiring country that had little choice but to accept Britan's version of what was an inevitably close relationship, and to endure what Britan claimed as the benign strategic necessity of continued occupation.

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Rice, B. M. "British and Irish state responses to militant Irish republicanism, 1968-1971." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680387.

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This thesis has as its focus the reactions of the British Government and the Government of the Republic of Ireland to the growth of militant Irish Republicanism and the deteriorating political and social situation in Northern Ireland, during the period 1968-1971. A granular analysis of the various agents of each state allows the complexity of the developing conflict to be shown. What emerges is a picture of strategy and policymaking which emanates from a range of different actors from political, diplomatic, military and civil service spheres. To date, studies of the period have tended to treat the respective states as monolithic; the approach here is to disaggregate, to allow the cross currents ' and purposes of policymaking and strategising, which served the differing agendas of individuals and departments within the states to be fully laid bare. The situation on the ground in Northern Ireland is the backdrop for all state activity, and the analpis offered here of power plays and internal dynamics within the Republican movement itself, shows that movement to be an evolving one during the period, and one which was afforded space to develop and expand by the management of the conflict by the respective states. Northern Ireland, a relative backwater in 1968, was pushed to the top of the political agenda in both Dublin and London, and was on the international stage by 1972. Extensive evidence from primary sources from this crucial period is presented here in an analysis of the activity of the Irish and British States, to gain an understanding of the processes in operation as they reacted to the rapidly-evolving events on the ground.

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Campbell, Barber Fionna. "The time of Irish art." Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/621811/.

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How might an understanding of the temporal help us to engage with the visual? To what extent is this mediated by a sense of location - in this case within (or about) Ireland? This thesis takes the form of an enquiry into the meanings of time in relation to Irish art over a period of approximately one hundred years from 1910 onwards. Rather than a focus on the production of meaning within artworks themselves, however, the thesis is concerned with art historiography - an investigation into the wider discursive content of a selection of my published work between 2013-2018. In doing so it establishes a critical and distinctive position for the importance of time and temporality not just in relation to the broader field of art history, but within a wider understanding of the historical formations of Irish visualities. To achieve this, I focus on the deconstruction of selected notions of temporality within the discourses of art history (the role of linear histories, canons and contemporaneity) in conjunction with an analysis of the specificity of Irish temporalities. This takes two forms: evidencing the uneven experience of modernity and the active presences of traumatic memory, both legacies of colonialism, as a means of undoing the progressive drive of linear history, and an accompanying analysis of the complex temporalities of post-conflict Northern Ireland, as a means of more specifically situating how art historical writing can produce the meanings of its artworks in both locations. Finally, in conjunction with a return to the written work submitted to accompany this thesis, I map out further directions this can take, as a means of understanding the crucial role of past modes of temporalities in an engagement with the present and an attempt to shape the future.

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Peatling, G. K. "British ideological movements and Irish politics, 1865-1925." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363674.

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Chappell, Kevin. "British press interpretation of Irish affairs 1938-1946." Thesis, University of Aberdeen, 2003. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=228858.

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The original stimulus for this thesis was oral interpretations of events of the 1940’s told to the author both in Ireland and Britain. In Ireland it has been thought that neutrality was deliberately libelled and misinterpreted by Churchill, the Ministry of Information and the press. In Britain, neutrality has been seen as national cowardice, unworldliness, or an act of spite against the former ruling power. Basic research led to the conclusion that these assessments were not justified, and further study suggested the following hypotheses. 1. Churchill’s critical comments on the neutrality of Eire were not based merely on prejudice and pervious experience but as a means of promoting American involvement in the war, disguising intelligence breakthroughs, and creating a scapegoat for British military weaknesses. 2. The Ministry of Information did not engender anti-Eire propaganda. 3. Journalistic methods, the means of disseminating information and established British interpretation of Irish culture combined with Churchill’s publicly stated opinions to produce the critical interpretation of Eire’s neutrality in the British press which has persisted to the present. British newspapers and related articles, journalistic techniques and relevant military and diplomatic events will be examined to test these hypotheses.

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Twiddy, Iain. "The pastoral elegy in contemporary British and Irish poetry." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427181.

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McMahon, Paul Andrew. "British intelligence and the Irish 'Fifth Column', 1939-45." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619712.

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Gray, Peter Henry. "British politics and the Irish land question, 1843-1850." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/271973.

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Shaw, D. J. "Ireland and the Irish in post-war British politics." Thesis, University of Liverpool, 2018. http://livrepository.liverpool.ac.uk/3021158/.

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Despite the research that has been previously published concerning both the Irish in Britain and Ireland in British politics little of this examines the reaction of the Irish in Britain to events that bring Ireland into British post-war politics. Neither does this work place Ireland within a British context. Whilst some authors have not ignored those in Britain that wish to raise the saliency of Ireland in British politics, most have either reduced it to a few paragraphs or sentences. This is especially true within popular British historiography which dislikes challenges to the many warming myths found within Whig narratives. However, myths concerning the Irish in Britain can be found in Irish historiography as well, such as those concerning the power of Irish voters in Britain. There remains a tendency to look at Irish political activity in post-war Britain in a thin and superficial manner. This study is intended to fill several gaps. It will examine the reaction of the Irish in Britain as it emerges from beneath the surface of British politics. It will look at those groups that attempted to put pressure on successive British Governments even when Ireland was not in the public eye. This will also include those that wanted to protect Northern Ireland’s position within the Union. Another goal of this research is to place Ireland within a wider British context. Previously when the importance of Ireland has increased in British politics, it has been studied within a strictly Irish context. This thesis will show that the British response to Ireland is framed as much by British issues as Irish ones. This research will also seek to debunk some of the myths concerning the Irish vote in Britain, showing that they are a modern European population, making deliberative decisions that reflect this. It will conclude that despite the many myths, Ireland has little political saliency for British politicians and for all but a small section of the Irish population in Britain. The Irish in Britain are a modern, deliberative civic population, not a 5th column ready to rise in the name of Irish nationalism.

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Thomas, Evan Benjamin. "Toward Early Modern Comics." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.

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Caffrey, Paul. "Irish portrait miniatures c. 1700-1830." Thesis, Southampton Solent University, 1995. http://ssudl.solent.ac.uk/2420/.

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This thesis is the first comprehensive study of miniature portrait painting in Ireland during the period c. 17-- to 1830. The thesis includes a critical bibliography, a survey of the primary sources and a discussion of the visual sources and collections that are the focus of the study. The techniques used in miniature painting provide a starting point for this analysis of portraits painted on enamel and ivory. This examination of miniature portraiture emphasises the distinction between the two different types of miniature, the ornamental portrait as jewellery and objects of personal adornment and the cabinet miniature. The display of miniature portraits as decorative pictures, viewed within the context of interior architecture and design provides a focus for the chapter on cabinet miniatures. The Irish portrait miniatures in the collection of the National Gallery of Ireland are catalogues in full for the first time. This collection provides the material for the stylistic and technical analysis in teh thesis. Comparative work is drawn from public and private collections in Ireland, England and America. The thesis documents the work of over 180 miniaturists active in Ireland in the eighteenth and early nineteenth centuries. The thesis presents new material on the miniaturists and their work which shows the contribution of the miniaturist to the development of portraiture, water colour painting and the decorative arts in Ireland.

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Tracy, Thomas J. "Comic plots with tragic endings : the British writing of Ireland, 1800-1870 /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045097.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 210-217). Also available for download via the World Wide Web; free to University of Oregon users.

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Robson, Tristram Newton Fatkin. "The Irish harp in art music c1550-c1650." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/9354/.

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The sixteenth century brought increased English military occupation and settlement to Ireland. Members of the invading nobility, who consequently came into contact with the native culture, were seduced by the sound of the Irish harp and took the instrument from its roots in Gaelic society and placed it in the setting of European courtly music. My aim is to examine this process, the resulting developments which took place in the evolution of the Irish harp, and compositions associated with its usage in the 'art' music of England and the Continent. Particular reference is made to the 'Harpe' Consorts of William Lawes together with their sources and resulting implications when considering the capabilities of the instrument employed. The harp's role within this music is also analysed and a complete set of transcriptions of Lawes' consorts is included. Works by other musicians associated with the Irish harp during the period 1550-1650 are also discussed with specific reference to the compasses and accidentals of the instruments required by the composers where appropriate. Transcriptions of works attributed to Cormack MacDermott and the anonymous harp parts located at the back of Ch Ch Mus MS 5 are included. Martin Peerson's 'Mottects or Grave Chamber Music' and a collection of works for 'Treble Bass Viol and Harp', included in the back of the 1687 edition of Christopher Simpson's A Compendium of Practical Music are also discussed. A major part of the research involved the reconstruction of an Irish chromatic harp (presented as part of this thesis) capable of playing the music examined. An account of this is given in a report which looks at the decisions and processes involved, difficulties encountered, as well as some recommendations for future experimental directions.

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Cox, Gareth. "The Development of Twentieth-Century Irish Art-Music." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37165.

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Crosbie, Barry James Conleth. "The Irish expatriate community in British India, c.1750-1900." Thesis, University of Cambridge, 2005. https://www.repository.cam.ac.uk/handle/1810/251942.

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Palk, Natalie Anne. "Metal horse harness of the British and Irish Iron Ages." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332899.

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Banks, David. "Exploring Irish nursing careers in the British National Health Service." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/321/.

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Title: Exploring Irish Nursing Careers in the British National Health Service. Background: The experiences of minority ethnic groups working in the NHS have been explored from a perspective of race ideas, primarily colour. Little is known about Irish nurses as a key group of actors and agents who have played a significant role in the reserve army of labour filling the ranks of the British health service. There are unanswered questions about their career progress and any commonalities and differences with other white and black nurses. Aims: The study explores questions around career progress, specialisation and settlement in the UK for Irish men and women. Design: The research is empirical and employs substantial secondary analyses of two large scale data sets. Findings: Irish nurses are not merely a historical feature of the National Health Service; they continue to play a significant part in service delivery, management and education. Core peripheral relations continue to act as a mechanism in the numbers of Irish men and women seeking to pursue nursing work in the UK. They have achieved relative career success in comparison to other minority ethnic groups. The Irish appear to be collectively rewarded as a subaltern group in this post colonial job nurse market. Gender is highly significant with regard to career success. Conclusions: The findings contribute to a more complex picture of Irish working lives in UK, from in relation to questions of ethnicity, gender, and occupational progress.

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Badrideen, Ahmed. "Aspects of domesticity in contemporary British, Irish and American poetry." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11502/.

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This thesis explores representations of home and domesticity in contemporary verse. Home-life and domestic scenes are significant in contemporary verse, not only because they are found in unprecedented abundance, but also because they are often taken as the principal subject of a poem, rather than as contextual setting. In short, in the post-war era, domestic experiences have proven to be rich and seemingly inexhaustible source of poetry. This is traceable primarily to an interest in ‘experiences of ordinariness’ exhibited by contemporary poets – an interest which is in no small part a product of the Movement aesthetic – and also to the surge in academic and imaginative explorations of the nature and quality of home-life during the postwar decades. A principal concern of this thesis will be with moments of epiphany or rarefication, when the domestic sphere loses its ‘domestic’ colouring as it mediates and is involved with deep emotional or intellectual experiences. The first chapter considers Hardy and Larkin. These poets, often paired together and seen as principal figures in the ‘English line’, are shown to be significant poets of the domestic sphere. The second chapter considers representations of the childhood home. Here the house is shown to be a ‘formative’ place, the ground for moral and intellectual growth. In the eyes of the child, the one who defamiliarises his or her surroundings par excellence, the house and its contents might become somewhat monumental, imbued with import unavailable to adults. The third chapter considers poems of domestic love and marriage. It shows that these poems hinge on a combination of the mundane and homely with high emotion and feeling. This leads to a new type of love poetry: wry, often sardonic, with under-stated sentiment and affection. The fourth chapter, which looks at political poems set at home, offers the most ambivalent account of domestic space. Home life might accrue negative regard when considered in relation to wars or political disturbance. On the other hand, domestic life is regarded positively as the desired end of war or civil unrest. An unmolested and normal home life is the fruit of peace. The fifth chapter looks at domestic architecture in itself, considering the various ways that domestic interiority is presented in relation to the wider world. It explores various types of relationships between domestic interiority and the exteriority beyond, from poetry where the house is besieged by the external environment, to poems where the impulse is a movement from inside to outside. The sixth chapter explores how domestic scenes and items are invoked in the work of mourning. The thesis concludes with a chapter on poetic representations of hotels and hospitals, which may be regarded as ersatz homes, ghosted by the presence of the authentic home.

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Venn, Jonathan Edward. "Madness, resistance, and representation in contemporary British and Irish theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27675.

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This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performative analysis of the selected plays, interrogating these plays from various theoretical perspectives. It follows and explores different conceptualizations across both political and ethical lay lines, looking at what composes the theatrical practical critique, how theatre can alter and play with space, how theatre capacitate the act of witnessing, and the possibility of re-invigorating the ethical encounter through theatrical means. It achieves this through a critical engagement with thinkers such as Michel Foucault, Henri Lefebvre, Jacques Derrida and Emmanuel Levinas. Engaging with the heterogeneity of madness, it covers a variety of madness’s different attributes and logics, including: the constitution and institutional structures of the contemporary asylum; the cultural idioms behind hallucination; the means by which suicide is apprehended and approached; how testimony of the mad person is interpreted and encountered.

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Downing, Niamh Catherine. "Stratigraphies : forms of excavation in contemporary British and Irish poetry." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11763.

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This thesis intervenes in current critical debates about space, place and landscape in late-twentieth and twenty-first century British and Irish poetry, by examining models of excavation in selected work by Geoffrey Hill, Ciaran Carson, Geraldine Monk and Alice Oswald. It argues that the influence of the spatial turn on literary criticism over the last thirty years has led to the deployment of a limited set of spatial tropes as analytical tools for interpreting the spaces and places of poetry. By deploying excavation as a critical method it seeks to challenge existing approaches that tend to privilege ideas of space over time, and socio-spatial practices over literary traditions of writing place. In doing so it develops a new model for reading contemporary poetries of place that asserts the importance of locating spatial criticism within temporal and literary-historical frameworks. The four poets examined in the thesis exhibit a common concern with unearthing the strata of language as well as material space. Starting from a premise that excavation always works over the ground of language as well as landscape it investigates the literary traditions of landscape writing in which each of these poets might be said to be embedded. After surveying the critical field the thesis sets out four principles of excavation that it argues are transformed and renewed by each of these poets: the relationship between past and present; recovery and interpretation of finds; processes of unearthing; exhumation of the dead. The subsequent chapters contend that these conventions are put into question by Geoffrey Hill’s sedimentary poetics, Ciaran Carson’s parodic stratigraphy, Geraldine Monk’s collaborations with the dead, and Alice Oswald’s geomorphology of a self-excavating earth. The critical method that underpins the discussion in each of the chapters is also excavatory in that it unearths both the historical and literary strata of specific sites (the Midlands, Belfast, East Lancashire, Dartmoor and the Severn estuary) and resonances in the work of earlier poetic excavators (Paul Celan, Edward Thomas, Gerard Manley Hopkins, William Wordsworth, Dante Alighieri and Homer). Through careful exegesis of these poets and their precursors this thesis demonstrates that by transforming existing forms of excavation, contemporary poetry is able to renew its deep dialogue with place and literary history.

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Cosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

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Williams, Mark Richard. "Particulate trace metals in British coastal waters." Thesis, University of Plymouth, 1995. http://hdl.handle.net/10026.1/1934.

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Key processes affecting the transport of particulate trace metals in the coastal waters of the Irish and North Seas have been examined. Sample collection and experimentation was carried out on board R.R-S. Challenger in January 1992 (Irish Sea) and in December 1992 and November 1993 (North Sea). Particulate samples were digested in IM HCI and the concentrations of Ca, Cd, Co, Cu, Fe, Mn, Pb and Zn were determined, together with the 206/207Pb isotopic ratio. In the North Eastern Irish Sea the concentrations of suspended particulate trace metals were affected significantly by tidal processes, such that ebb tides transport particles of higher trace metal concentrations from the nearshore, while flood tides transport metal-depleted particles from offshore. This tidally-induced transport was confirmed by complementary 206/207Pb analyses, which showed the value of this technique in particle tracing. In the North Sea suspended particulate trace metal concentrations were higher adjacent to industrialised estuaries and high Pb concentrations were found m the Tyne/Tees region (in the range 200 - 340 ug g-1), in combination with low 206/207Pb suggesting an anthropogenic origin. Estimated fluxes of trace metals from the Humber Estuary to the North Sea were relatively small compared to the PARCOM inputs to the estuary. There was little evidence of interannual variability in these fluxes compared to those obtained in December 1988. Samples of end-members of the Humber Plume particle mixing series (estuary and cliffs) were used in radiochemical uptake studies, which indicated a response time of about 1 day for 109Cd, 137Cs and 65Zn to reach a new equihbrium. When the end-members were mixed together in various proportions they showed the uptake of 109Cd and 54Mn behaved non-additively. Settling of suspended particulate trace metals in the plume region was examined in unique experiments involving stable and radioisotopes. It was shown that trace metals were preferentially associated with different settling fractions. Lead was associated with slow settling particles whereas Cu was associated with particles settling more rapidly. The results presented in this dissertation allowed the development of a conceptual model for fine sediment transport for trace metals, which could be interfaced with established hydrodynamic models.

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Gamble, Miriam Claire. "Form, genre and lyric subjectivity in contemporary British and Irish poetry." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491942.

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This thesis engages with the usc of traditional forms, and the role of the lyric subject, in contemporary poetry. It carries out close readings on the work of five contemporary poets (Derek Mahon, Michael Longley, Paul Muldoon, Don Paterson and Simon Armitage) and highlights points of intersection and influence between their various oeuvres. The thesis also challenges critical readings which suggest the existence of significant 'generational' differences in Northern Irish poetry from the 1960s onwards, and reveals, by dose attention to the poems themselves, that the critical perception of a clear barrier existing between the formal 'conservatism' of one generation and the 'experimentalism' of the next is unfounded and incorrect. By linking the formal procedures of Paul Muldoon to pre-existing strategies perceptible in the work of two earlier poets, Michael Longley and Derek Mahon, it reveals a more fruitful pattern of exchange and influence, and highlights ways in which the two earlier writers, via their manipulation of form and subject, may be seen to engage with 'radical' concepts habitually perceived to be beyond their purview. To this end, the thesis also interacts with theories of form, language and subjectivity. Finally, by extending its reach beyond Northern Ireland to include the work of two emergent British poets, Don Paterson and Simon Armitage, the thesis argues that the formal approaches of Northern Irish poetry continue to exert visible intluence on new writing, thus challenging arguments which suggest these techniques to be redundant, retrograde or site-specific. Using the figure of Paul Muldoon as intermediary, it asserts the significance of Muldoon's formal inheritance to his influence on younger writers, and argues for recognition of the means by which Armitage and Paterson straddle the conventional binaries of labels like 'mainstream' and 'experimental.'

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McDavid, S. "Northern Ireland : Sunningdale, Power-sharing and British-Irish Relations, 1972-1975." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527852.

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Connolly, Ciaran. "Accounting and accountability : a study of British and Irish fundraising charities." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272188.

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Smith, Jos James Owen. "An archipelagic environment : rewriting the British and Irish landscape, 1972-2012." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8183.

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This thesis explores a contemporary literary movement that has been called ‘the new nature writing’, framing it in its wider historical and cultural context of the last forty years. Drawing on recent developments in cultural geography, it explores the way such terms as ‘landscape’ and ‘place’ have been engaged with and reinterpreted in a diverse project of literary re-mapping in the British and Irish archipelago. It argues that the rise of environmentalism since the late 1960s has changed and destabilised the way the British and Irish relate to the world around them. It is, however, concerned with challenging the term ‘nature writing’ and argues that the literature of landscape and place of the last forty years is not solely concerned with ‘nature’, a term that has come under some degree of scrutiny recently. It sets out an argument for reframing this movement as an ‘archipelagic literature’ in order to incorporate the question of community. In understanding the present uncertainties that pervade the questions around landscape and place today it also considers the effects of such political changes as the partial devolution of Scotland, Wales and Northern Ireland on the British and Irish relationship to the land. The literature that it takes as its subject often explores the way personal and communal senses of identity have found a renewed focus in a critical localism in opposition to more footloose forms of globalisation. Through a careful negotiation of Marxist and phenomenological readings of landscape, it offers an overview of what is a considerable body of literature now and what is developing into one of the most consistent and defined literary movements of the twenty-first century.

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Lok, Susan Pui San. "A-Y of 'British Chinese' art." Thesis, University of East London, 2004. http://roar.uel.ac.uk/1291/.

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A-Y of 'British Chinese' Art takes as a point of departure the work of Lesley Sanderson, and her positionings within and between dominant and marginalised 'Black,' 'British, 'Chinese,' and 'Asian' curatorial and discursive frames during the 1980s and 1990s, to consider the politics and impossibily of naming 'British-Chinese-ness'. 'Take Outs' goes on to examine the central narrative of Chinese immigrants in Britain invoked by Anthony Key, Yeu-Lai Mo, and Mayling To, who draw on the motifs and mythologies of the takeaway, and the significations of flags, to engage contemporary discourses around 'Britishness' and 'Chineseness', migration, hybridity, cultural commodification and assimilation. 'Outtakes' looks then at the tactical postures and gestures staged by Sanderson, Mo, Erika Tan and To across a range of works, which deconstruct and play on the consumption of exoticised bodies i , across orientalist visual imagery and narratives, from the anthropological to the comic, the culinary to the cinematic. Whereas much of this work is 'mute', chapter four, 'Translators' Notes, ' begins with a multi-vocal, multi-screened sound and video Installation by Tan, going on to consider the politics and poetics of speaking and translating, the conflation of linguistic competence with cultural and ethnic 'authenticity, ' notions of diaspora and 'home, ' and the inevitability of 'pidgin' languages and cultures. These essays seek to identify various historical and cultural contexts to inform the coincident and divergent aesthetic strategies and thematic concerns of a number of peer practices, among them my own, which is discussed in the final chapter, 'Back Words. ' Attempting to locate myself and my writing/practice obliquely, by proxy, in proximity to others, I begin with the premise that our commonality is underpinned less by an Indubitable, unwavering 'Chineseness' (or for that matter, 'Britishness'), than a desire to subvert such a notion: to assume instead its complex fabrications and ultimate instability.

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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.

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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.

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Forrest, David. "Social Realism : a British art cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.

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Since the 1930s, realist cinema has maintained a consistent but ever-diversifying presence within the heart of British film culture. The broad term of social realism has come to represent numerous examples of films that reflect a range of social environments and issues, in a manner that rejects the artifice and escapism of more classically-oriented narrative models. Yet, there has been a tendency to view such films in the context of what they have to tell us about the issues and themes they invoke, rather than what they say about their art. When we think of the New Wave in France, or Neo-Realism in Italy we think of film movements which reflected their subjects with veracity and conviction, but we also see their products as cultural entities which encourage interpretation on the terms of their authorship, and which demand readings on the basis of their form. We are invited to read the films as we would approach a poem or a painting, as artefacts of social and artistic worth. Despite the continued prevalence of social realism in British cinema, there is no comparable compulsion in our own critical culture. This study seeks to address this imbalance. Beginning with the documentary movement of the 1930s and the realist cinema of wartime, I chart the history and progression of social realism in Britain, covering a wide range of directors such as Ken Loach, Mike Leigh, Alan Clarke and Shane Meadows and a number of film cycles, such as Free Cinema and the British New Wave. The key focus of my analysis lies on the aesthetic and formal constitution of the mode. I seek to highlight hitherto unrealised depths within the textual parameters of British social realism in order to propose its deserved status as a genuine and progressive national art cinema.

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von, Rosenberg Ingrid. "Stuart Hall and Black British Art." Universität Leipzig, 2018. https://ul.qucosa.de/id/qucosa%3A32269.

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The following article deals with a somewhat neglected aspect of Stuart Hall’s manifold activities and its relevance for his theoretical work: his interest in and commitment to the promotion of black British art.

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Butler, William Marsh. "The Irish amateur military tradition in the British Army, c.1854-1945." Thesis, University of Kent, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633644.

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This thesis examines the Irish amateur military tradition in the British Army from 1854 until 1945, as separate to the amateur military tradition in Great Britain. The work argues that such a difference did exist but, also, within this, two further traditions emerged. Firstly, the re-emergence of the Protestant volunteering tradition, witnessed in Ulster as early as the seventeenth century, and, secondly, a Catholic amateur military tradition largely present in the Irish militia. Importantly, these two traditions, although not directly competing, also reflected Irish, and later Northern Irish, society up until the end of the Second World War. It will assess these traditions by looking at a variety of different aspects: the political and strategic considerations of the use of Irish auxiliaries at a time when there was a degree of upheaval in Ireland; the officer corps of the amateur forces, and how this developed over time; likewise, for the rank and file, its changing nature is evaluated; the discipline and morale of these forces is assessed, with special attention given to how religious composition affected this; their use on active service is considered; and, finally, the contemporary image, both inside and outside of Ireland is considered in order to build a picture of the auxiliary forces cultural impact on society as a whole. In' essence, this approach has previously been used to assess the British Army as a whole, especially during the Victorian and Edwardian periods, and also the amateur forces of Great Britain. However, this work builds upon this concept to evaluate the Irish position in detail, within the British context, for the first time. In so doing, the thesis also disproves some of the assumptions made about the Irish position and how its amateur forces were placed within its unique political, social, and cultural environment.

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Gorman, Sara Elizabeth. "Transformative Allegory: Imagination from Alan of Lille to Spenser." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10916.

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This dissertation traces the progress of the personified imagination from the twelfth-century De planctu Naturae to the sixteenth-century Faerie Queene, arguing that the transformability of the personified imagination becomes a locus for questioning personification allegory across the entire period. The dissertation demonstrates how, even while the imagination seems to progress from a position of subordination to a position of dominance, certain features of the imagination's unstable nature reappear repeatedly at every stage in this period's development of the figure. Deep suspicion of the faculty remains a regular part of the imagination's allegorical representation throughout these five centuries. Within the period, we witness the imagination trying to assert its allegorical position in the context of other, more established allegorical figures such as Reason and Nature. In this way, the history of the personification of the imagination is surprisingly continuous from the twelfth to the sixteenth centuries. This "continuity" is not absolute but functions as a consistent recombination of a standard set of features of and attitudes toward imagination that rematerializes regularly. In order to understand this phenomenon at any point in these five centuries, it is essential to examine imagination across the entire period. In particular, the dissertation discovers an alternative, more nuanced view of the personified imagination than has thus far been posited. The imagination is a thoroughly ambivalent character, always on the cusp of transformation, and nearly always locked in a power struggle with other allegorical figures. At the same time, as the allegorical imagination repeatedly attempts to establish itself, it becomes a locus for intense questioning of the meaning and process of personification. The imagination remains transformative, uncertain, and at times terrifying throughout this entire period.

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LeClair, Andrew. "On William Walwyn's Demurre to the Bill for Preventing the Growth and Spreading of Heresie." Thesis, Florida Atlantic University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13419063.

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During the English Revolution of the seventeenth century, writers like William Walwyn produced documents contesting the restriction of their liberties. This thesis is a critical edition of Walwyn’s Demurre to the Bill for Preventing the Growth and Spreading of Heresie, unedited since its original publication in 1646. In this text Walwyn advocates for man’s right to question religious orthodoxy in his search for Truth and urges Parliament not to pass a proposed Bill for the harsh punishment of religious sectarians.

Prior to a transcription of the text is an introduction to Walwyn and an attempt to situate the reader in the context of his time. Following that is a style and rhetorical analysis, which concludes that despite his rejection of rhetorical practices, Walwyn’s own use of them is effective. Perhaps this skill is one of the reasons that Parliament passed a milder, non-punitive version of the Bill Walwyn argued against.

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Schoellman, Stephanie. "Dis(curse)sive Discourses of Empire| Hinterland Gothics Decolonizing Contemporary Young Adult and New Adult Literature and Performance." Thesis, The University of Texas at San Antonio, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814117.

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This dissertation advances Gothic studies by 1) arguing that Gothic is an imperial discourse and tracing back its origins to imperial activity, 2) by establishing a Hinterland Gothics discourse framework within the Gothic Imagination, 3) and by defining three particular discourses of Hinterland Gothics: the Gotach (Irish), Gótico (Mexican-American Mestizx), and the Ethnogothix (African Diaspora), and subsequently, revealing how these Hinterland Gothics undermine, expose, and thwart imperial poltergeists. The primary texts that I analyze and reference were published in the past thirty years and are either of the Young Adult or New Adult persuasion, highlighting imperative moments of identity construction in bildungsroman plots and focusing on the more neglected yet more dynamic hyper-contemporary era of Gothic scholarship, namely: Siobhan Dowd’s Bog Child (2008), Celine Kiernan’s Into the Grey (2011), Marina Carr’s Woman and Scarecrow (2006), Emma Pérez’s Forgetting the Alamo (2009), Virginia Grise’s blu (2011), Emil Ferris’s graphic novel My Favorite Thing is Monsters (2017), Gloria Naylor’s Mama Day (1988), Helen Oyeyemi’s White is for Witching (2009), Nnedi Okorafor’s Binti (2015) and Binti: Home (2017), and Nicki Minaj’s 54^th Annual Grammy Awards performance of “Roman Holiday” (2012). The cold spots in the white Eurocentric canon where Other presences have been ghosted will be filled, specters will be given flesh, and the repressed will return, indict, and haunt, demanding recognition and justice.

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Robinson, Sarah E. "The Other Sherlock Holmes| Postcolonialism in Victorian Holmes and 21st Century Sherlock." Thesis, Southern Illinois University at Edwardsville, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10808581.

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This thesis examines Sherlock Holmes texts (1886–1927) by Sir Arthur Conan Doyle and their recreations in the television series Sherlock (2010) and Elementary (2012) through a postcolonial lens. Through an in-depth textual analysis of Doyle’s mysteries, my thesis will show that his stories were intended to be propaganda discouraging the British Empire from becoming tainted, ill, and dirty through immersing themselves in the “Orient” or the East. The ideal Imperial body, gender roles, and national landscape are feminized, covered in darkness, and infected when in contact for too long with the “Other” people of the East and their cultures. Sherlock Holmes cleanses society of the darkness, becoming a hero for the Empire and an example of the perfect British man created out of logic and British law. And yet, Sherlock Holmes’ very identity relies on the existence of the Other and the mystery he or she creates. The detective’s obsession with solving mysteries, drug addiction, depression, and the art of deduction demonstrate that, without the Other, Holmes has no identity. As the body politic, Holmes craves more mystery to unravel, examine, and know. Without it, he feels useless and dissatisfied with life. The satisfaction with pinpointing every detail, in order to solve a mystery continues today in all media versions. Bringing Sherlock Holmes to life for television and updating him to appeal to today's culture only make sense. Though society has the insight offered by postcolonial theory, evidence of an imperial mindset is still present in the most popular reproductions of Sherlock Holmes Sherlock and Elementary.

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Connors, Steven. "The Subject of Indeterminacy| Exploring Identity with Conrad and Salih." Thesis, Clark University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10841511.

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Literary study has long been concerned with the construction of meaning and identity through language. In the realm of postcolonialism, for instance, it is necessary to consider the ways that racism and sexism are hegemonic constructs that are transmitted and solidified through language. Furthermore, literary texts such as Heart of Darkness by Joseph Conrad and Season of Migration to the North by Tayeb Salih engage themselves with revealing the ways that racism, sexism, and colonial discourse function through determinacy or certainty. Moreover, Conrad and Salih are engaged in undermining these enterprises of authoritative discourse by revealing the underlying indeterminacy of language and meaning-making. In other words, they show that meaning exists as humanity constructs it. Thus, it is necessary to consider the ways that they question racism, sexism, and colonialism as movements of thought, discourse, and action that have no rational foundations; and it is necessary to consider the ways that they seek to frame the resistance of these forces in their characters.

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Banghart, Andrew S. "Escaping the Real: Popularizing Science and Literary Realism in the Victorian Marketplace." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1465568858.

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Wilson, Molly Elizabeth. "A New Historicist Perspective on John Milton’s Political Influence: From Milton’s “Lycidas” to Paradise Lost." Ohio Dominican University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1557238064797745.

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Redmond, John Plunket. "Aspects of the interrelationship of British and Northern Irish poetry : 1960-1994." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365622.

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Mercurio, Jeremiah Romano. "Fantasy as a mode in British and Irish literary decadence, 1885–1925." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.

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This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.

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Matthews, Charles Kevin. "The Irish boundary crisis and the reshaping of British politics, 1920-1925." Thesis, London School of Economics and Political Science (University of London), 2000. http://etheses.lse.ac.uk/1611/.

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This thesis investigates the interaction between the evolution of the Irish Question and the re-emergence of Britain's two-party political system after World War I. It challenges the contention summed up in A.J.P. Taylor's suggestion that David Lloyd George 'conjured' the Irish Question out of existence with the Anglo-Irish Treaty of 1921. Here, it is shown that on the contrary the Irish dispute continued to be a highly sensitive issue for successive British governments until the Treaty's Boundary Commission report was shelved in 1925. This was so because British politics was then undergoing a profound revolution. Its climax was the 1924 general election, which established the Conservatives as the dominant players in British politics, ensured Labour's place as the leading party of the left, and confirmed the eclipse of Liberalism. The first of this study's two aims is to set the Irish dispute within this wider context. Specifically, it examines how the answer to the Irish Question that was devised by Lloyd George and his Coalition partners was constructed and then dismantled as a result of this revolution. The second aim of this thesis is to demonstrate that the Boundary Commission was only one element in the Treaty's Ulster clauses, all of which were designed to bring about Ireland's re-unification. The intent was to exploit the financial restrictions of the 1920 Government of Ireland Act and thus pressure Ulster Unionists into joining a single Irish Parliament. This aspect has been overlooked in other studies, though it posed as serious a threat to Northern Ireland's survival as the Commission itself.

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Bell, Geoffrey. "The British working class movement and the Irish national question, 1916-1921." Thesis, University of Leeds, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343216.

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Finlayson, Andrew. "Geomorphology and dynamics of the British-Irish Ice Sheet in western Scotland." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/8965.

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Predicting the long-term behaviour of present-day ice sheets is hampered by the short timescales of our observations and restricted knowledge of the subglacial environment. Studying palaeoice sheets can help by revealing the nature and amplitude of past centennial- to millennial-scale ice sheet change. This thesis uses glacial sediments and landforms to examine the evolution of the partly marine-based British-Irish Ice Sheet (BIIS) and its bed, in western Scotland. Three zones of the former BIIS are considered: ranging from a mountain ice cap, to a core area of the ice sheet, to a peripheral marine-terminating sector. The topography of the subglacial landscape was an important in uence on the location of dynamic and stable components of the ice sheet. At an ice cap scale, zones of glacier inception and retreat were linked to catchment elevation and size. At the ice sheet scale, the migration of ice divides and thermal boundaries were focused through corridors of low relief subglacial topography. The main west-east ice divide of the BIIS in central Scotland migrated by 60 km, 10% of the ice sheet's width, through one such corridor during the glacial cycle. A major change in the ow regime of the BIIS in western Scotland accompanied the development of a marine-based sector on the Malin Shelf. As the BIIS advanced to the shelf edge, ice ow was drawn westwards { orthogonal to the earlier, geologically controlled, ow pattern. Retreat of the BIIS from the shelf edge occurred at an average rate of 10 m a-1, but was punctuated by at least one episode of accelerated retreat at 100 m a-1. In each zone of the BIIS examined, a rich palimpsest landscape is preserved and the role of earlier glaciations in conditioning or priming the landscape is highlighted. Western Scotland in particular is dominated by features relating to a 'restricted' mountain ice sheet, suggested to have been the prevailing ice sheet mode during the Early and Middle Quaternary. Where the last BIIS was underlain by soft sediments, glacier movement at the bed was facilitated by a combination of basal sliding and a localised mosaic of shallow deforming spots, allowing landform and sediment preservation. In places, till deposition was focused over permeable substrates acting to seal the bed, promote lower e ective pressures, and enhance motion by basal sliding. The modern land surface in western Scotland provides an approximation for the relief of the former glacier bed, and can be used for conceptual palaeoglaciological reconstructions. Areas of focused postglacial deposition have, however, obscured parts of the ice sheet bed, with demonstrable implications for quantitative palaeoglaciological analyses. Methods to improve the representation of former ice sheet bed in these areas are discussed and may be pertinent to future palaeo-ice sheet modelling exercises.

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Dissertations / Theses on the topic 'Irish and British art'

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