Se connecter

Bibliographies thématiques / Irish Friend / Thèses

Thèses sur le sujet « Irish Friend »

Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Irish Friend.

Auteur : Grafiati

Publié le 27 juillet 2024

Mis à jour le 29 juillet 2024

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Consultez les 19 meilleures thèses pour votre recherche sur le sujet « Irish Friend ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.

1

Spivey, Adam. « Friend or Foe ? Martial Race Ideology and the Experience of Highland Scottish and Irish Regiments in Mid-Victorian Conflicts, 1853-1870 ». Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3216.

Texte intégral

Résumé :

This thesis examines martial race ideology in the British Army during the mid-nineteenth century. A “martial race” was a group of people that the British considered to excel in the art of warfare due to biological and cultural characteristics. This thesis examines perceived “martial” natures or lack thereof of the Highland Scots and the Irish during this era. Central to this analysis are the Crimean War (1853-1856) and the Indian Mutiny of 1857 which provided opportunities for soldiers to display their “martial” qualities. The Crimean War was the first war where the daily newspapers covered every aspect of the war using correspondents, and it gave soldiers the chance to gain recognition through this medium. The Indian Mutiny represented a crisis for Britain, and it gave soldiers the opportunity to be recognized as “stabilizers of the empire.” However, despite their similarities, the Highland regiments became some of the most revered regiments while the Irish came to be seen as untrustworthy, leading many in the British government to initiate efforts to decrease the role that the Irish played in Britain’s conflicts. This reluctance was due to the turmoil that erupted as a result of the anti-Union Fenian Brotherhood in Ireland during the 1860s. The difficulty in stabilizing Ireland in the wake of Fenian terrorist attacks also exposed old prejudices of the Irish related to religion, race, and class. This was evidenced through parliamentary debates and British newspapers reporting on the crises.

Styles APA, Harvard, Vancouver, ISO, etc.

2

Sams, Steven Michael. « The cauldron of enmities the Friends of Ireland and the conflict between liberalism and democracy in the early nineteenth century Atlantic world / ». unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11182005-232347/.

Texte intégral

Résumé :

Thesis (M.A.)--Georgia State University, 2005.
Ian Christopher Fletcher, committee chair; Wendy Hamand Venet, committee member. Electronic text (131 p.). Description based on contents viewed May 8, 2007; title from title screen. Includes bibliographical references (p. 126-131).

Styles APA, Harvard, Vancouver, ISO, etc.

3

Rorke, Bernard. « Beyond friends and enemies ? : the politics of Irish nationalisms in the twentieth century ». Thesis, University of Westminster, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433896.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

4

Sams, Steven Michael. « The Cauldron of Enmities : The Friends of Ireland and the Conflict between Liberalism and Democracy in the Early Nineteenth Century Atlantic World ». Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/history_theses/4.

Texte intégral

Résumé :

In 1828 the Friends of Ireland formed in the United States in order to support Daniel O’Connell’s Catholic Association in Ireland. The Catholic Association campaigned for Catholic Emancipation, a successful movement that promoted the participation of Catholic elites in the United Kingdom Parliament. In the 1840s the Friends of Repeal formed in the United States in order to support Daniel O’Connell’s Repeal Association in Ireland. This organization sought the repeal of the Act of Union of 1800, which had created the United Kingdom and dismantled the Irish Parliament. This time, the movement failed due to mounting sectionalism and sectarianism in both countries. Using Charleston's Catholic Miscellany and the Boston Pilot as primary sources, this thesis explores how Irish Americans participated in the Jacksonian-era public sphere and how the Emancipation and Repeal campaigns illuminated the sometimes competing claims of liberalism and democracy in the Atlantic world.

Styles APA, Harvard, Vancouver, ISO, etc.

5

Younger, Alison Solveig Patricia. « 'Look beyond these innocent outspread hands' : versions of post-coloniality in the works of Brian Friel ». Thesis, University of Sunderland, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324053.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

6

Moriarty, John James. « Social influence from friends and other peers on Northern Irish adolescents' use of cannabis and other illicit drugs" ». Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602688.

Texte intégral

Résumé :

For those working with young people, it is invaluable to know to what extent any individual's decisions around drug use reflect the behaviour which their peers have modelled for them. Peer influence is, however, notoriously difficult to estimate, often because of the inadequacies of the available data. This thesis describes secondary statistical analysis of the Belfast Youth Development Study, a dataset with several attractive characteristics. Peer behaviour could be measured at t he level of the school grade, the friendship cluster and various related subgroups. Furthermore, data on network composition and drug use behaviours were available over multiple consecutive years, which is rare internationally. Using a suite of regression models, including standard linear, instrumental variables and fixed effects models, I demonstrate the importance of friends' behaviour and of the relationships between friends in determining individual• level drug use. Specifically, I find strong positive causal coefficients for friends' average use of cannabis and other drugs on ego's use. By contrast, the mean use of other grademates is found to have zero effect on that of ego. In dealing with the problems of identification, I employ a sound instrumental variable strategy exploiting network structure and capitalise on the longitudinal dimension of BYDS to produce an individual fixed effects model controlling for initial preferences and select ion of new friends. This is the first such model of adolescent drug use. Both of these strategies converge on a peer influence coefficient of 0.4, indicating that a 10% increase in friends' illegal drug use results increases ego's likelihood of use by 4%. The effect is much stronger for friends who reciprocate ego's friendship. There is also evidence that drug using groups are more tightly knit at their core but also more open around their margins than other groups. These results are discussed in terms of their applicability to educating young people, both on how their peers' behaviour might compromise their long-term health and personal autonomy, and, reciprocally, on the potential effects of their behaviour on their closest friends.

Styles APA, Harvard, Vancouver, ISO, etc.

7

Duncan, Dawn E. (Dawn Elaine). « Language and Identity in Post-1800 Irish Drama ». Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

Texte intégral

Résumé :

Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.

Styles APA, Harvard, Vancouver, ISO, etc.

8

Baker, Vanessa Grace. « RITUAL AS THE WAY TO SPEAK IN DANCING AT LUGHNASA ». Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1149015059.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

9

Pfeiffer, Iris [Verfasser], Gunther [Akademischer Betreuer] Friedl, Gunther [Gutachter] Friedl et Michael [Gutachter] Kurschilgen. « Outrage and Camouflage - An empirical examination of the Managerial Power Theory / Iris Pfeiffer ; Gutachter : Gunther Friedl, Michael Kurschilgen ; Betreuer : Gunther Friedl ». München : Universitätsbibliothek der TU München, 2018. http://d-nb.info/1154931625/34.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

10

Pfeiffer, Iris [Verfasser], Gunther [Akademischer Betreuer] Friedl, Gunther Gutachter] Friedl et Michael [Gutachter] [Kurschilgen. « Outrage and Camouflage - An empirical examination of the Managerial Power Theory / Iris Pfeiffer ; Gutachter : Gunther Friedl, Michael Kurschilgen ; Betreuer : Gunther Friedl ». München : Universitätsbibliothek der TU München, 2018. http://nbn-resolving.de/urn:nbn:de:bvb:91-diss-20170828-1379360-1-1.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

11

Capuchinho, Adriana Carvalho. « Liminaridade, Sacrifício e Reciprocidade : uma abordagem do ritual em três peças de Brian Friel ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-21022013-111001/.

Texte intégral

Résumé :

Este trabalho analisa três peças de Brian Friel - The Enemy Within (1962), Faith Healer (1979) e Dancing at Lughnassa (1990) escritas em um intervalo de quase trinta anos. Nossa tese é de que Friel escreve as três peças como rituais, o que, por sua vez, retira da concepção elaborada pelos ritualistas de Cambridge, na década de 1920, de que a tragédia grega e o drama se desenvolveram a partir dos rituais de fertilidade. Notamos que a influência da tragédia e dos rituais em Friel está consideravelmente mais vinculada à forma e à abordagem das peças enquanto um ritual que à reescritura de tragédias gregas ou mitos, muito embora alusões sejam recorrentes. Friel retrabalha mitos e rituais a fim de refazer e atualizar o drama enquanto um ritual em si mesmo, cuja razão de ser é permitir a significação e reorganização da vida individual e social no mundo moderno industrial, no caso específico, a vida na Irlanda contemporânea. Ocupamo-nos dos dramas sociais e dos rituais de passagem, com atenção especial ao período liminar, caracterizado pela transição entre papéis sociais envolvendo um período de não-pertencimento. Os três grupos envolvidos em cada uma das peças: os monges e noviços em The Enemy Within, a pequena trupe mambembe em Faith Healer e a família em Dancing at Lughnasa, vivem na periferia de suas sociedades sendo liderados por figuras vivendo uma situação liminar participando de dramas sociais que envolvem processos rituais tanto formais como não-institucionalizados.
This work addresses three plays by Brian Friel - The Enemy Within (1962), Faith Healer (1979) and Dancing at Lughnassa (1990) - written within a period of almost thirty years. Our thesis is that Friel writes all three plays as rituals, a conception taken from the Cambridge Ritualists, who in the 1920s assume that Greek tragedy and drama grew out of the ancient fertility rituals. We notice that the influence of tragedy and rituals on Friel\'s work is more connected to the form and approach to the plays as rituals than to the rewriting of Greek tragedies or myths. Friel reworks myths and rituals in order to update and remake drama as a ritual in itself, whose raison d\'etre for him is to allow the meaning and reorganization of individual and social life in modern industrial world, mainly life in contemporary Ireland. We deal here with social dramas and rites of passage, with special regard to the liminal period, characterized by the transition between social roles and involving a period of not belonging. The three groups involved in each play: the monks and novices in The Enemy Within, the small troupe in Faith Healer and the family in Dancing at Lughnasa, live on the boundaries of their societies and are led by men who are in a liminal situation in social dramas which involve both institutionalized and informal ritual processes.

Styles APA, Harvard, Vancouver, ISO, etc.

12

Oliveira, Mariana Lessa de. « Translating ireland : Brian Friel's Translations beyond words ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/114839.

Texte intégral

Résumé :

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa.
First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

Styles APA, Harvard, Vancouver, ISO, etc.

13

Hölken, Iris [Verfasser]. « Mechanically stable and environmentally friendly polymer/particle composites for the application as low-fouling coating in the marine sector / Iris Hölken ». Kiel : Universitätsbibliothek Kiel, 2016. http://d-nb.info/1115183621/34.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

14

Parker, Michael Richard. « The writers and the troubles : the impact of politics on Northern Irish writing in the late 1960s and early 1970s, with particular reference to the work of Brian Friel and Seamus Heaney ». Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364183.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

15

Tripp, Scott T. « Selected Repertoire for the Tenor Voice ». FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/629.

Texte intégral

Résumé :

This thesis presents extended program notes for a seventy-minute vocal graduate recital consisting of the following repertoire for tenor: Johann Sebastian Bach’s cantata Ich armer Mensch ich Sündenknecht; two songs from the eighteenth-century Spanish collection Tonadillas Escénicas; Gaetano Donizetti's song La derniére nuit d'un novice; Francis Poulenc's song cycle Tel jour telle nuit; Jake Heggie's song cycle Friendly Persuasions; and John Corigliano's Three Irish Folk Songs for Flute and Tenor. Spanning four centuries of music and representing four different language traditions, these works are sufficiently representative of the tenor repertoire. The content of this thesis features detailed information on these works through historical study, and musical analysis.

Styles APA, Harvard, Vancouver, ISO, etc.

16

PEREZ, TOSTADO Igor. « Looking for 'powerful friends' : Irish ad English political activity in the Spanish monarchy (1640-1660) ». Doctoral thesis, 2004. http://hdl.handle.net/1814/5935.

Texte intégral

Résumé :

Defence date: 24 September 2004
Examining board: Prof. Fernando Bouza Álvarez, Universidad Complutense, Madrid (External supervisor) ; Dr. Declan M. Downey, University College Dublin ; Prof. John H. Elliott, Oriel College, University of Oxford ; Prof. Lawrence Fontaine, EHESS, Paris (Supervisor) ; Prof. Bartolomé Yun Casalilla, European University Institute
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Styles APA, Harvard, Vancouver, ISO, etc.

17

Johnson, Amy R. « Stranger in the Room : Illuminating Female Identity Through Irish Drama ». Thesis, 2007. http://hdl.handle.net/1805/918.

Texte intégral

Résumé :

Thesis (M.A.)--Indiana University, 2007.
Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)

Styles APA, Harvard, Vancouver, ISO, etc.

18

Pínová, Kateřina. « Inscenační praxe a recepce hry Briana Friela "Tanec na konci léta" v irském a českém kontextu ». Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-322180.

Texte intégral

Résumé :

Thesis Abstract The aim of this thesis is to compare the production history and reception of Brian Friel's Dancing at Lughnasa, arguably one of his most famous and successful plays, in Irish and Czech contexts. Following its triumphant premiere at the Abbey Theatre in 1990 directed by Patrick Mason, the production transferred to London and Broadway, where it garnered further critical acclaim and several prestigious awards. The first Czech production, directed by Jan Burian, opened at Divadlo na Vinohradech in Prague in 1993, and over the course of the next twenty years it was staged another eight times on Czech professional - mostly regional stages. The opening chapter of the thesis focuses on the analysis of Dancing at Lughnasa using the method of close reading, as well as consulting secondary literature. The following chapter is divided into two parts, the first of them attempting to outline the background of the play by focusing on the events of the 1930s in Ireland. The second part is concerned with the context of writing Dancing at Lughnasa. Chapters four and five comprise the main body of the thesis and deal with the description of the five most significant productions in Ireland and the Czech Republic. These chapters focus on the context, the directors' concept, the acting and the critical acclaim....

Styles APA, Harvard, Vancouver, ISO, etc.

19

Pichrtová, Lenka. « Role genderu ve vybraných irských dramatech ». Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323420.

Texte intégral

Résumé :

The purpose of this thesis is to examine how the turbulent changes within the Irish society affected the face of modern Irish drama. Ireland, originally a rural country bound by religious dogmas and its own colonial past, underwent a considerable amount of development in the latter half of the 20th century; it was predominantly manifested through an increased Celtic Tiger economic prosperity and decreasing influence of the Catholic Church. The central interest of Irish culture has always been the effort to define a unifying national metanarrative and identity. In the beginning of the 20th century this desire was motivated by a struggle to establish a vital opposition between Ireland and Great Britain and definitely renounce its depreciating status of a former colony. However, in the second half of the 20th century the discrepancy between the nationalist ideology driven idea of Irish identity (whose value has always been questionable to say the least) and its modern reality became unbridgeable. The introduction of this thesis is dedicated to summarizing the changes within the Irish society in the course of the 20th century. A brief characterization of this turbulent development should justify the urge of more recent artists to re-formulate the Irish national metanarrative to suit the 20th century...

Styles APA, Harvard, Vancouver, ISO, etc.

Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!