'Incorrigibly Plural’: New Histories of Ulster and Northern Ireland’

Review article of Carson’s Army: The Ulster Volunteer Force, 1910–22. By Timothy Bowman. Manchester University Press, Manchester, 2007. 256 pp. ISBN 0719073715, £55. A History of the Northern Ireland Labour Party: Democratic Socialism and Sectarianism. By Aaron Edwards. Manchester University Press, Manchester, 2009. xiii + 240 pp. ISBN 0719078741, £60. Catholic Belfast and Nationalist Ireland in the Era of Joe Devlin 1871–1934. By A.C. Hepburn. Oxford University Press, Oxford, 2008. xix +307 pp. ISBN 019929884X, £55. The Big House in the North of Ireland: Land, Power and Social Elites, 1878–1960. By Olwen Purdue. University College Dublin Press, Dublin, 2009. xv + 297 pp. ISBN 978-1-906359-25-6, £24.

O livro encenado: escrita e representação na obra de Ana Teresa Pereira

Esta dissertação propõe uma leitura de um conjunto de obras de Ana Teresa Pereira centrada nas relações entre escrita e representação. Estas obras são: O Fim de Lizzie e outras histórias (2008), O Verão Selvagem dos Teus Olhos (2008), Inverness (2010), A Outra (2010), A Pantera (2011) e O Lago (2011). Partindo da hipótese de que aquele binómio constitui um problema teórico importante na abordagem a estas obras, interroga-se as diversas instâncias em que ele se manifesta nos textos, tendo em conta a encenação do acto de escrita e de outros actos de criação, bem como o recurso a um campo semântico do domínio do teatro, com o qual a narrativa se confunde, pondo em evidência e em diálogo diferentes acepções do conceito de “representação”. A reflexão atenta essencialmente em três eixos: o pensamento sobre arte que atravessa estas narrativas, a figuração auto-reflexiva do texto e a forma como Ana Teresa Pereira desenvolve uma noção de teatralidade na articulação entre escrever e representar. Esta noção é também a que une ideias de livro, de palco e de mundo, gerando tensões consequentes entre ficção, realidade e literatura.

The Invention of Hebrew Prose: Literary Language and the Dilemmas of Mimesis, pt. 3, sect. 1

DIscussion of how the Hebrew literary language developed and how it is used to create a reality.

The Invention of Hebrew Prose: Literary Language and the Dilemmas of Mimesis, pt. 3, sect. 2

DIscussion of how the Hebrew literary language developed and how it is used to create a reality

The Invention of Hebrew Prose: Literary Language and the Dilemmas of Mimesis, pt. 2

DIscussion of how the Hebrew literary language developed and how it is used to create a reality.

The Invention of Hebrew Prose: Literary Language and the Dilemmas of Mimesis, pt. 1

DIscussion of how the Hebrew literary language developed and how it is used to create a reality

Interrupting the courtroom organism: screaming bodies, material affects and the theatre of cruelty

This article offers a method of reading the courtroom which produces an alternative mapping of the space. My method combines a reading of Antonin Artaud’s Theatre of Cruelty with a Deleuzian theoretical analysis. I suggest that this is a useful method since it allows examination of the spatial praxes of the courtroom which pulsate with a power to organize, terrorize and to judge. This method is also able to conceptualize the presence of ‘‘screaming’’ bodies and living matter which are appropriated to build, as well as feed the presence and functioning of the courtroom space, or organism. By using a method that articulates the cry of these bodies in the shadow of the organism, it becomes clear that this cry is both unwelcome and suppressed by the courtroom. The howl of anxious bodies enduring the process and space of the law can be materialized through interruptions to the courtroom, such as when bodies stand when they should not and when they speak when they should be silent. These vociferous actualizations of the scream serve only to feed the organism they seek to disturb, yet if the scream is listened to before it disrupts, the interruption becomes-imperceptible to the courtroom. Through my Artaudian/Deleuzian reading, I give a voice to the corporeal gasp that lingers before the cry, which is embedded within the embodied multiplicity from which it is possible to draw a creative line of flight. The creative momentum of this line of flight produces a sustainable interruption to the courtroom process, which instead of being consumed by the system, has the potential to produce new courtroom alignments. My text therefore offers an alternative reading of the courtroom, and in doing so also offers a refined understanding of how to productively ‘‘interrupt’’ the courtroom process.

Ulster PD Scheme: Using e-portfolios and professional conversations to evidence recognition claims

Vicky Davies and Sarah Maguire are Professional Development Managers at the University of Ulster. They have many years of experience in delivering and assessing Higher Education Academy claims for recognition via accredited provision for new teaching staff and post-graduate students. More recently they led the development of the University of Ulster’s Professional Development Scheme http://www.ulster.ac.uk/centrehep/pds/ . The core elements of the PD Scheme are the production of an e-portfolio and an assessed professional conversation. This workshop will explore the learning they have acquired through developing this process and piloting it with applicants. You will have the opportunity to discuss this and to identify any transferability to your own practice.

Literary translation and quality assessment analysis – its significance in translation training

This paper aims to highlight the role of translation quality assessment in translation training so as to develop students’ translation competence and skills to face translation problems. An analysis to assess literary translation quality is proposed before proceeding to discuss its pedagogical implementation.

N’A Barraca com Maria do Céu Guerra em Dona Maria, a louca, de António Cunha: relatório de estágio

Relatório de Estágio submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas - Interpretação.