Desire and Divorce in Serglige Con Culainn

This paper examines the expression of ideas about love, marriage and divorce in Serglige Con Culainn. It is argued that the two versions of the tale, both of which are incomplete, exhibit distinctive approaches to love and the portrayal of the female characters. The earlier recension depicts male desire as a violent attack by Otherworld women that renders the man incapacitated. The later version provides a radically different view, offering a strikingly sympathetic portrait of the two female protagonists which may suggest a female audience. This version gives a remarkable insight into sexual mores and marital breakdown in a protracted and detailed negotiation involving the three main characters. It reveals tensions between male and female views of marriage and particularly of the practice of concubinage. It values loyalty between married partners over the fulfilment of desire and demonstrates the enduring and destructive effects of passion which are healed here only through magical interventions.

Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

Våldets onda cirklar : En explorativ undersökning av mäns barndomsupplevelser, maskuliniteter, känslor, våld samt terapeutiska interventioner mot våld

Avhandlingens överordnade syfte är att utforska möjligheterna för ett integrerat forskningsperspektiv på mäns våld samt exemplifiera hur sådan forskning kan bedrivas. Det konkreta syftet är att öka kunskapen om hur våldsamma mäns barndomsupplevelser, socialisation, maskulinitetskonstruktion och emotioner kan relateras till deras våld mot andra män, mot sig själva och mot kvinnor samt till hur terapeutiska interventioner mot våld kan analyseras och utvecklas i korrespondens med denna kunskap. Med vetenskapsteoretiska utgångspunkter hämtade från den kritiska realismen och ekologiska metoder relaterar studien forskning från olika skolbildningar till varandra; - psykologisk: om barndomserfarenheter och socialisation, socialpsykologisk: om emotioner och interaktion samt sociologisk: om social klass, könsmaktsstrukturer och hegemonisk maskulinitet. Detta genomförs för att kunna få tillgång till kunskap om hur olika faktorer samverkar vid mäns våld. I studie I och II studerades möjligheterna att undersöka de sociala banden mellan terapeut/terapi och klient inom terapeutiska behandlingar mot våld. I studie I operationaliserades indikatorer på emotionerna stolthet och skam och i studie II testades dessa på terapeuter inom en KBT-orienterad terapi. I studie IIIundersöktes män i olika maskulinitetspositioner, där urvalet för den ena gruppen hämtades ur populationen män dömda till terapi för våld och missbruk och den andra ur populationen män som organiserat arbetade för jämlikhet och mot våld mot kvinnor. I studien jämfördes de båda gruppernas förhållningssätt till faktorer som i tidigare forskning relaterats till våld och våld mot kvinnor. I studie IVundersöktes våldsdömda mäns karriärer fram till deras nuvarande position som våldsbejakande kriminella i avsikt att öka kunskapen om det samspel mellan faktorer som i olika situationer leder fram till deras våld mot andra män, sig själva och kvinnor. Samtliga empiriska studier använde kvalitativa metoder för datainsamling och analys. I studie IV användes individuella intervjuer och biografisk analys, I studie II ochIII användes gruppintervjuer samt deduktiv innehållsanalys. I studie I, den teoretiska reviewartikeln, utgjorde sociologisk, socialpsykologisk och psykologisk teoribildning empiri. Avhandlingen visar att det finns fler fördelar är nackdelar med ett nivåövergripande perspektiv. Nivåintegrerande studier försvåras av att de kräver en komplex metodologi för att kunna hantera samverkan mellan faktorer bakom våld på olika nivåer men ger å andra sidan en mer holistisk förståelse av fenomenet i fråga. Resultaten visar att integrerande perspektiv kan minska risken för ekologiska felslut och ökar förståelsen av komplex samverkan mellan faktorer bakom mäns våld, något som kan komma att bidra till kunskapsutvecklingen inom våldsterapiområdet. Den teoretiska reviewartikeln (studie I) exemplifierade hur teoretiskt och metodologiskt driven forskning om sociala band kan göras pragmatiskt tillämpbar av terapeuter inom våldbehandlingar. Den tillämpade studien av en KBT-terapi (studie II) gav exempel på hur operationaliserade indikatorer på stolthet och skam kan användas praktiskt för att bestämma kvalitén på det sociala bandet mellan terapeut och klient. Den studerade KBT-terapin innehöll som förväntat både skam- och stolthetskapande moment vilket utgör värdefulla utgångspunkter för vidare forskning. Jämförelsen mellan män i idealtypiskt motsatta maskulinitetspositioner (studie III) visade att både gruppen av män som arbetar mot våld mot kvinnor och männen dömda till behandling mot våld, bär på ambivalenta attityder gentemot våld och våld mot kvinnor. Jämförelsen visade vidare att gruppernas maskulinitetskonstruktioner och attityder till våld korresponderar med grupperingarnas olika tillgång till ekonomiska, sociala och kulturella resurser. Den biografiskt fokuserade kvalitativa studien av män i våldsbehandling (studie IV) undersökte explorativt hur karriären fram till våldskriminell kan se ut och hur barndomsupplevelser, socialisation, maskulinitet och emotioner hos enskilda våldsverkande män kan tänkas ha samverkat med varandra när våld äger rum. Resultaten visade att de män som vittnar om utsatthet för allvarligt våld i barndomen är mer skambenägna och vid kränkningar från andra tenderar att omedvetet och utan föregående känslor av skam direkt reagera med aggressioner och våld mot båda könen. Övriga män var visserligen skambenägna men beskrev en mer kontrollerad våldsreaktion. Två män som blivit brutalt fysiskt mobbade i grundskolan, berättade om ett mer kontrollerat våld. En preliminär hypotes är att männen kan ha lärt sig att kognitivt, för att undslippa fortsatt mobbing, ta kontrollen över processen där skamkänslor ersätts med aggressioner. Föräldrarnas personliga problem tillsammans med deras bristande sociala kontroll och omsorg antogs ha ett samband med flera av männens skolproblem, deras umgänge med avvikande ungdomar, deras senare svårigheter med att kunna försörja sig med konventionella medel samt deras våldskarriärer.

The Undersea World of the Sound Department: the Construction of Sonic Conventions in Sub-aqua Screen Environments

The availability of new underwater cameras and sub-aqua diving gear in the immediate post-war era opened up exciting possibilities for both narrative and documentary filmmakers. While the visual elements of this new world could now be more easily captured on film, the sound elements of the sub-aqua environment remained more elusive. What did, or should, this undersea world sound like? This article examines the use of sound in the sub-aqua scenes of both fictional and documentary films in the 1950s and asks questions about the methods used in the sonification of these worlds. Comparing the operation of underwater sound and human hearing with the production and post-production strategies used by filmmakers, I seek to identify the emergence of a sound convention and its implications for issues of cinematic realism. Central to this convention is the manipulation of sonic frequencies. The sound strategies adopted also raise questions about the malleability of viewer perspective and sound-image relationship in terms of a realist mode of address. Linked to this is the use of sound to enhance audience experience on an affective level. As well as underpinning cinematic realism, these new sound environments offered fresh experiences to audiences seeking new reasons to visit the cinema in an era of widening forms of entertainment.

Ageing and Imperial Mobility in the British Novel, 1845–1945

Thesis (Ph.D.)--University of Washington, 2016-08

Una planta sin clásicos. La berenjena en la farmacología medieval y renacentista

La berenjena (Solanum melongena L.) es una planta solanácea de múltiples variedades, cuyos ancestros salvajes se sitúan en Indochina y el este de África. Su cultivo fue muy temprano en zonas de China e India. Aun así, no se extendió al Occidente antiguo ni apenas se conoció, de ahí su ausencia en los textos clásicos de botánica y farmacología. Fueron los árabes quienes llevaron el cultivo de la planta por el Norte de África y Al-Andalus, de donde pasó ya a Europa. Los primeros testimonios occidentales de la berenjena aparecen en traducciones latinas de textos árabes, para incorporarse luego a la literatura farmacológica medieval y, más tarde ya, a la del Renacimiento, que empezó a tratar de ella por su posible parecido con una especie de mandrágora. Pese a que se le reconocían algunas virtudes medicinales, siempre se la tuvo bajo sospecha por ser de sabor poco agradable, indigesta y causante de algunas afecciones. Solo los botánicos de finales del Renacimiento describirían la planta y sus variedades con criterios más «científicos» y botánicos, ya sin apenas intereses farmacológicos.

Global Trade Governance and ASEAN: Studies of Trade-Related Aspects of Labor, Environment and Culture in Southeast Asia

Thesis (Ph.D.)--University of Washington, 2016-08

Towards Night

Sixty artists explore the nocturnal. Curated by Tom Hammick. The evening hour too gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves. – Virginia Woolf, Street Haunting: A London Adventure, 1930 Towards Night is an exhibition exploring the nocturnal through paintings, prints and drawings by over sixty artists. Drawing on the nineteenth century European Romantic tradition, the show surveys contemporary and historical connections to wonderment and dystopia at dusk, twilight, night and dawn. Towards Night juxtaposes key paintings and prints by Constable, Friedrich, Munch, Nolde, Palmer and Turner, some of the best known visionaries of the Romantic tradition with contemporary artists who work with the transformative aspects of nightfall to convey emotional responses of awe, anxiety and solitude, love and loss, revelry, insomnia, and journey’s end. The exhibition opens with direct and positive responses to the natural world; Marc Chagall’s exotic dreamlike evening in The Poet Reclining (1915) sits close to eighteenth century Indian miniatures depicting brightly painted figures offset against darkening monsoon clouds, and William Crozier’s Balcony at Night, Antibes (2007), of a plant, blue and iridescent against the cool night sky. As the exhibition progresses, the dystopias become darker and more disturbing, and the connections between artists and works intensify: Emma Stibbon’s Rome Aqueduct (2011) takes on a heightened sense of pathos alongside Caspar David Friedrich’s Winter Landscape (1811); Peter Doig’s cinematic Echo Lake (1998) conjures up an increased sense of contemporary angst; and Prunella Clough’s False Flower (1993), a magical tree defying brutalism by growing out of concrete, becomes more miraculous near Night Shift (2015) Nick Carrick’s tomblike high rise. Tom Hammick’s Violetta Alone (2015) and Michael Craig Martin’s Ash Tray (2015), reinforce hedonistic aspects of night-time revelry alongside Four AM, Betsy Dadd’s young woman drinking in the early hours of the morning and L.S. Lowry’s drunken people in a pub in The Crowd (1922). In the final room, a cluster of works explores dreams and insomnia, from Louise Bourgeois’ Spirals (2010) to Munch’s lovers embracing in The Kiss (1902). Tom Hammick, curator of the show said “This exhibition has grown way beyond its original conception, to become a magnificent survey of painting and printmaking from over two hundred years based around the central tenet of night. The exhibition is a kind of painterly response to the way figurative artists use their artistic heroes as starting points for their own work, both compositionally and emotionally.” Artists featured in Towards Night: Christiane Baumgarter, Michael Craig-Martin, Julian Opie, Will Gill, Merlin James, Howard Hodgkin, WillIam Scott, Patrick Caulfield, George Shaw, Stephen Chambers, Basil Beattie, Betsy Dadd, Christopher Le Brun, L.S Lowry, Andrew Cranston, David Willetts, James Fisher, Emma Stibbon, Vija Celmins, William Blake, William Crozier, Tom Hammick, Georgia Keeling, Helen Turner, Humphrey Ocean, Julian Bell, Craigie Aitchison, Mark Wright, Ken Kiff, Matthew Burrows, Andrzej Jackowski, Sarah Raphael, Nick Bodimeade, Nick Carrick, Mary Newcomb, Hurvin Anderson, Peter Doig, Phoebe Unwin, Danny Markey, Sara Lee, Simon Burton, Susie Hamilton, Marc Chagall, Alfred Wallis, Emil Nolde, J.M.W. Turner, Prunella Clough, Samuel Palmer, Louise Bourgeois, Caspar David Friedrich, Alex Katz, Ewan Gibbs, Susie Hamilton, Andrzej Jackowski, Amanda Vesey, Edward Stott, Gertrude Hermes, Rose Wylie, Sidney Nolan, John Constable, J.M.W. Turner, Emil Nolde, Hiroshige, Edvard Munch, Samuel Palmer, Eileen Cooper, Charles Neame-Spencer, Samantha Cary.

Espirito de catimbo: a moral magico-religiosa da jurema

This participative research interested in the social praxis attempts to understand the moral principles that set the magic rituals and the places of worship of three jurema centers of the potiguar region of Canguaretama. Among other inner particularly aspects of each focused catimbó-jurema center, it is being discussed the collective standards involved in the reliance and fellowship values assumed in the private magical gatherings by the juremeiras leaders and their partners, in contrast to the prestige seeking and the individualism that influence both the symbolic competitions and the witchcraft works that link these agents to the broader catimbozeiro universe of this region. Finally, the moral practices which make part of the juremeiro left-right dualism are investigated based on the understanding that the referred native pantheonic-ritual dichotomy does not necessarily express two moralities substantially adversed in terms of benefits or harms, but a series of moral actions subject to the specular logic of the tit-for tat. Thus, this research seeks to prove that this moral structure of symbolic reciprocity, as well as the witchcraft centrality in the catimbozeiro world, finds a certain causal link in a world view which guiding principle is the ontological evil of the catholic cosmology

A Política Externa da União Europeia no Ártico

É através da política externa que os atores das relações internacionais procuram concretizar os seus objetivos além das suas fronteiras. O Ártico é atualmente uma região alvo da política externa de atores das relações internacionais, entre eles Estados,organizações internacionais, multinacionais, entre outros. Sendo um território quase inexplorado, sabe-se que é extremamente rico em recursos naturais e energéticose que,com as alterações climáticas, estes recursos podem ser explorados. Com o derretimento da camada de gelo, o Oceano Ártico torna-se também uma rota de navegação rápida, o que intensificará o comércio internacional. No entanto, não são apenas oportunidades de crescimento económico que surgem do degelo do Ártico, mas também sérios riscos económicos, ambientais e securitários, aos quais a União Europeia não está alheia. Neste sentido, a organização europeia tem vindo a aplicar os seus esforços de política externa para desenvolver uma política que vá ao encontro dos seus objetivos na região, salvaguardando assim a sua segurança e também os seus interesses. Numa análise teórica, este trabalho procura previamente entender o que é a política externa, qual o papel da União Europeianesse âmbitoe quais as motivações para uma política externa europeia para o Ártico. Também se pretende mostrar a crescente importância da região do Ártico, e como este crescimento está fortemente ligado ao fenómeno das alterações climáticas. Sob a análise empírica, procura-se evidenciar a forma como a União Europeia está a desenvolver a sua política orientada para a região, para que no final do trabalho, cruzando a teoria com a parte empírica, fazer uma leitura da política europeia de acordo com as teorias das relações internacionais. Para dar forma ao trabalho, a metodologia utilizada foi a consulta de fontes académicas, a partir de centros de investigação ligados ao Ártico,como o Smithsonian Arctic Studies Center, o International Arctic Research Center eo Arctic Centre da Universidade da Lapónia, além de fontes documentais de diferentes organizações internacionais e documentos oficiais da União Europeia. Pode concluir-se que a União Europeia tem desenvolvido uma estratégia tendencialmente realista, pois procura sobretudo obter a sua segurança em relação às consequências do degelo do Árticoe limitar as oportunidades de crescimento dos restantes atores da região, apesar de o fazer utilizando políticas e estratégias de caráter pluralista.

Estrategia comunicativa que utiliza Revista VistalSur para promocionar el Corredor Turístico Santa Bárbara

En el presente trabajo se evidencia la estrategia de Revista VistalSUR para promocionar el Corredor Turístico Santa Bárbara, en la Región Sur y en las principales ciudades del Ecuador. Desde septiembre del 2010 hasta julio del 2013 se han elaborado seis reportajes: Las toquilleras crean arte con sus manos, en los cantones azuayos de Chordeleg y Sígsig. Desfiles y Disfraces por San Chavita, Sígsíg. Carnaval: explosión de música y color, en el Corredor turísticos Santa Bárbara. Macanas, un ancestral arte textil en Gualaceo. Tres Lagunas: el corazón verde de Chordeleg. Paja toquilla, con las raíces de una mágica tradición, en Gualaceo, Chordeleg y Sígsig. Entre todos los reportajes suman 28,5 páginas de contenido. Estos trabajos se han impreso en 52.000 ejemplares que han sido distribuidos en la Región Sur, en las zonas turísticas de Guayaquil y Quito, y en las principales ferias de turismo del Ecuador y de los países vecinos de Colombia y Perú.

Designing the Spectator Experience

Interaction is increasingly a public affair, taking place in our theatres, galleries, museums, exhibitions and on the city streets. This raises a new design challenge for HCI, questioning how a performer s interaction with a computer experienced is by spectators. We examine examples from art, performance and exhibition design, comparing them according to the extent to which they hide, partially reveal, transform, reveal or even amplify a performerts manipulations. We also examine the effects of these manipulations including movements, gestures and utterances that take place around direct input and output. This comparison reveals four broad design strategies: `secretive,' where manipulations and effects are largely hidden; `expressive,' where they are revealed, enabling the spectator to fully appreciate the performer's interaction; `magical,' where effects are revealed but the manipulations that caused them are hidden; and finally `suspenseful,' where manipulations are apparent, but effects only get revealed when the spectator takes their turn.

Arte y realidad : el cuerpo como territorio de mímesis en el arte contemporáneo

El artículo atiende a la revitalización de las narrativas de lo corpóreo que ha experimentado el arte de los últimos años, especialmente aquellas que destacan por su elevado grado de veracidad. En este sentido, propone una reflexión sobre la relación entre el arte y la realidad a partir de la utilización de los llamados materiales FX (efectos especiales) y, consecuentemente, una reflexión sobre las nuevas consideraciones que adquiere en el arte contemporáneo la idea de mímesis (como aproximación a la realidad) con la utilización de estos materiales. El estudio aborda el origen, desarrollo y evolución del proceso, prestando atención a aspectos como la necesidad social de realidad, el realismo frente a la realidad sintética, o la importancia de los materiales de síntesis (materiales FX) en dicho proceso.

Rada Federalna i Prezydent Konfederacji Szwajcarskiej. Specyfika i ewolucja rozwiązań kreowania władzy wykonawczej

Switzerland is an example of a state that has adopted specific solutions as regards the election and execution of executive power, which has generated the common conviction that the Swiss Confederation is among the most solid democracies in the world. Recent years have shown, however, that political practice has brought about a significant evolution of Swiss solutions as the distribution of power in the parliament has resulted in the abolition of the ‘magical formula’ that guaranteed the great (and stable) government coalition, and the emergence of initiatives aiming at changing the principles along which executive power is elected in Switzerland. The purpose of considerations presented in this paper is to analyze the specific character of how the executive institutions function in the Swiss Confederation, answer the question of what directions the changes to the composition of the Federal Council are taking, as well as address the directions of evolutionary changes to the principles of electing the members of the Swiss government.

Egyptian Pagans through Christian Eyes

Construction of Christian identity in Egypt proceeded in pace with construction of the Egyptian pagan “Other” between the second and sixth centuries. Apologies, martyrdoms, apocalypses, histories, sermons, hagiographies, and magical texts provide several different vantage points from which to view the Christian construction of the Egyptian pagan “Other”: as the agent of anti-Christian violence, as an intellectual rival, as an object of anti-pagan violence, as an obstacle to salvation, and—perhaps most dangerously—as but another participant in a shared religious experience. The recent work of social scientists on identity, deviance, violence, social/cultural memory, and religiosity provides insight into the strategies by which construction of the “Other” was part of a larger project of fashioning a “proper” Christian religious domain.