To see the other types of publications on this topic, follow the link: Barker.
Dissertations / Theses on the topic 'Barker'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Barker.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Mellor, Leo Gwilym. "Calamiterrors : the works of George Barker, 1933-1944." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613032.
Full text
2
Khamphommala, Vanasay. "Spectres de Shakespeare dans l’œuvre de Howard Barker." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040190.
Full textAbstract:
Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaissent d’abord comme radicalement différentes, ne serait-ce qu’en raison du statut marginal que Barker occupe au sein du paysage théâtral anglais. Dès lors, si Shakespeare se manifeste dans son œuvre, ce sera sous une forme altérée, méconnaissable, transformée, autrement dit sous forme de spectres. Pourquoi l’œuvre de Barker a-t-elle suscité de façon si insistante la comparaison à celle de Shakespeare ? Et que révèle cette comparaison, non seulement de la pratique critique, mais surtout des enjeux poétiques du théâtre de Barker ? Cette étude s’efforce de répondre à ces questions en examinant d’abord les modalités d’élaboration de l’œuvre de Barker, et la manière dont celle-ci place le spectre, figure majeure du doute, au cœur de son esthétique. Elle se penche ensuite sur les critères qui ont pu justifier le rapprochement entre les deux dramaturges, notamment l’histoire et l’écriture, pour montrer que Shakespeare est toujours convoqué sur le mode paradoxal du leurre, modèle avancé pour être mieux rejeté. De la sorte, elle essaie de dégager non pas les traits que partagent les deux dramaturges, mais la manière dont Barker tente d’exorciser la présence étouffante du dramaturge élisabéthain en élaborant une poétique singulièreFrom his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice
3
Fraser, M. L. "Reading stage directions : from Robertson to Shaw and Barker." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599194.
Full textAbstract:
This thesis argues that an understanding of how to read stage directions involves a non-theoretical but historically-nuanced awareness of the mediating processes of text and performance. In order to illuminate these mediating processes, the thesis maintains that those playwrights involved in all aspects of dramatic production provide the most significant evidence for understanding the reading of stage directions. The thesis further argues that the most decisive redefinition of the literary and critical significance of stage directions emerges in the period spanning the mid nineteenth to the early twentieth centuries. The thesis takes two parts. Part One examines the contexts for reading stage directions historically. It considers the stage direction and its place in the developing censorship and copyright laws of the nineteenth and early twentieth centuries. It then illustrates the development of the written and performed stage direction, drawing upon the work of Robertson, Shaw and Barker and supplementing the discussion with an analysis of the plays, rehearsal techniques and play publications of Gilbert and Pinero. Part Two provides the reader with three case studies. The first, which considers Robertson's play, Caste (1867) challenges the accepted perception of Robertson's staging reforms by reading the stage directions of manuscript and privately published versions alongside the posthumously published text. It then goes on to consider how the information described in the stage directions might have been interpreted in performance. The second case study analyses a group of stage directions at the end of Shaw's Heartbreak House (pub. 1919; perf. 1921). By considering the written and performed stage directions in an historical and theatrical context, the thesis provides a key to interpreting the play. The final study examines Barker's topically resonant play, Waste. In its comparison of the three extant versions of the play, 1907, 1909 and 1927, the thesis seeks to consider how the stage directions mediate the relationship between the play's text and context.
4
Knight, M. Eddy. "Howard Barker and the reintroduction of the theatre of language /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09ark71.pdf.
Full text
5
吳堉榕 and Yuk-yung Ng. "Cyclic menon difference sets, circulant hadamard matrices and barker sequences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31211823.
Full text
6
Belemgoabga, Paul Richard. "Individu et Société dans le théâtre de Harley Granville Barker." Montpellier 3, 1988. http://www.theses.fr/1988MON30026.
Full textAbstract:
La periode victorienne laisse aux edouardiens un heritage dont la remise en question s'impose a tous ceux qui recherchent une solidarite sociale. Harley granville barker, philosophe et humaniste, s'interesse aux nouveaux devoirs de l'individu. Il developpe un theatre realiste et intellectuel, vehicule d'idees par excellence. Il adhere a la fabian society ou il retrouve son ami personnel g. B. Shaw. Il ne croit pas a la lutte des classes mais a la necessite morale d'une reorganisation sociale. Il concoit l'education comme une liberation qui permet des chances egales d'epanouissement a tout individu. Les meilleurs elements ainsi formes pourront garantir l'avenement d'une societe plus solidaire et plus humaineThe edwardians inherited from the victorians a heritage whose calling into question became imperative to all those who strived for social solidarity. Harley granville barker, a philosopher and humanist, interested himself in the new duties set to every individual. He developed a realistic and intellectual theatre, a paramount medium of ideas. He was member of the fabian society where he met with his close friend g. B. Shaw. He didn't believe in class struggle but in the moral neccesity of a social organisation. He viewed education as a way to liberation which provides equal opportunies to every individual to improve himself. Thus the best trained people in society could ensure the advent of a society showing more solidarity and more humanity
7
Belemgoabga, Paul Richard. "Individu et société dans le théâtre de Harley Granville Barker." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611697p.
Full text
8
Ng, Yuk-yung. "Cyclic menon difference sets, circulant hadamard matrices and barker sequences /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13814291.
Full text
9
Holmkvist, Lars [Verfasser], Bo Barker [Akademischer Betreuer] Jørgensen, and Jörn [Akademischer Betreuer] Peckmann. "A cryptic sulfur cycle driven by iron below the sulfate-methane transition zone / Lars Holmkvist. Gutachter: Bo Barker Jørgensen ; Jörn Peckmann. Betreuer: Bo Barker Jørgensen." Bremen : Staats- und Universitätsbibliothek Bremen, 2009. http://d-nb.info/1071897535/34.
Full text
10
Kiehl, Christine. "Le Corps dans le théâtre de la catastrophe de Howard Barker." Metz, 2005. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2005/Kiehl.Christine.LMZ0502_1.pdf.
Full textAbstract:
S'affichant comme un " classique contemporain ", Howard Barker reste une voix marginale dans le théâtre anglais. Contre la tradition anglaise de réalisme social et la tendance-nihiliste du mouvement " In-Yer-Face)), le " théâtre de la Catastrophe " propose une nouvelle esthétique de la barbarie. L'univers dramatique exploite la puissance suggestive du paradigme charnel tout en résistant à la nouvelle doxa du corps omniprésent dans la société et les arts vivants. Déjouant l'attente d'un public en quête de message, l'auteur transgresse les limites de l'intimité, exhibant le laurnent viscéral de la passion en dehors de tout jugement de valeur moral. La vision chaotique du corps soufiant dans le monde post-éthique de l'après-Shoah est mise en abArne dans le bouleversement formel des pièces. Après l'état des lieux du corps mutilé, l'analyse s'attache à l'anatomie envisagée à la fois comme transgression de la chair intime et comme quête épistémologique et ontologique de l'être. La compulsion de voir l'intérieur du corps humain inscrit le regard dans une réflexion métathéâtrale sur le spectateur, soulevant la question éthique de l'Esthétique visuelle. Le passage du texte à la scène est pris dans une dialectique entre l'exhibition du corps et sa dissimulation, entre la révélation et le secret. La production récente plaide en faveur d'une " dé-monstration " du corps au profit de la voix et du texte mis en tension avec l'image du corps. Comme l'aporie tend vers le silence, l'esthétique transgressive tend vers la sublimation du corpsA "contemporary classic" as he portrays himself, Howard Barker remains a singular voice in English cirama. Against the English tradition of social realism and In-Yer-Face nihilism, the Theatre of Catastrophe sets up a new aesthetics of cruelty. The dramatic context of the plays explores the powerful paradigm of flesh whilst resisting the new orthodoxy of the body overwhelmingly present in society and art. The play disappoints the audience's expectation of a message, transgresses the limits of intimacy instead; visceral passion is exhibited beyond moral judgement. The chaotic perspective of the body in pain in the post-ethical world of the afler-Shoah is mirrored within the fi-agmented structure of the plays. The analysis opens on an inventory of the mutiiated body, then moves on to anatomy both as a transgression of intimacy and an epistemological and ontological quest. The compulsive need to look inside the human body leads to a reflection on the role of the audience in the spectacle of flesh, questioning the ethics of today's visual aesthetics. In dramatic representation, the body is caught in a dialectics between exhibition and concealment, revelation and secrecy. The conspicuous display of the body gradually fades out in later plays on behalf of language and the spoken voice. As insignificance leads to silence, so the aesthetics of transgression point to the spectrality of the body
11
Kiehl, Christine Boireau Nicole. "Le Corps dans le théâtre de la catastrophe de Howard Barker." [S.l.] : [s.n.], 2005. ftp://ftp.scd.univ-metz.fr/pub/Theses/2005/Kiehl.Christine.LMZ0502_1.pdf.
Full text
12
Paul, Juliette. "The manuscript presentation volume of Jane Barker and her imaginative Catholic faith." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/5913.
Full textAbstract:
Thesis (M.A.)--University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 30, 2007) Includes bibliographical references.
13
Sawicka, Joanna Elżbieta [Verfasser], Bo Barker [Akademischer Betreuer] Jørgensen, and Bernhard [Akademischer Betreuer] Fuchs. "Arctic to tropic - adaptation and response of anaerobic microorganisms to temperature effects in marine sediments / Joanna Elżbieta Sawicka. Gutachter: Bo Barker Jørgensen ; Bernhard Fuchs. Betreuer: Bo Barker Jørgensen." Bremen : Staats- und Universitätsbibliothek Bremen, 2011. http://d-nb.info/1071898086/34.
Full text
14
Pickard, Claire. "Literary Jacobitism : the writing of Jane Barker, Mary Caesar and Anne Finch." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:85514fc9-6f0c-4992-ae8c-2666dc1f7ede.
Full textAbstract:
This thesis argues that much of the gender based criticism that has led to the "rediscovery" of neglected early modern women writers has, paradoxically, also served to limit our understanding of such writers by distracting attention from other aspects of their writing, such as their political commitments. The three authors considered, Jane Barker (1652-1732), Mary Caesar (1677-1741) and Anne Finch (1661-1720), have been selected precisely because Jacobitism is central to their writing. However, it will be argued that a focus upon gender politics in the texts of these writers has led to a failure to comprehend the party political boldness of their work. The thesis examines the writing of each author in turn and explores the implications of Barker's, Caesar's and Finch's Jacobite allegiances for their respective views of human history as played out in political affairs. It also considers the ways in which each author attempts to reconcile a cause that is supposedly supported by God with apparent political failure. The quest of Barker, Caesar and Finch to investigate these issues and to comprehend how Jacobitism forms part of their own authorial identities is central to what is meant here by "literary Jacobitism" in relation to these writers. The thesis demonstrates that Jacobitism is enabling for each of these three women as it enhances their ability to conceive of themselves as authors by allowing their sense of political identity to overcome their scruples about their position as women who write. However, it also illustrates that Jacobitism functions differently in the writing of each of the selected authors. It thus argues that an undifferentiated labelling of the work of these three women as "Jacobite" is as restrictive as their previous categorisation as "women writers".
15
Jones, Kate. "Innocence and experience : figuring the child in the fiction of A.L. Barker." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/58487/.
Full textAbstract:
This thesis considers the dialectic of innocence and experience in the fiction of A.L. Barker (1918-2002). It is about her preoccupation with the relation between these states, which I argue is best understood through the figure of the child. Alluding to and critiquing Romantic, Victorian, psychoanalytic and modernist narratives of childhood and registering their influence on ideas about the child in mid-twentieth-century culture, Barker’s fiction troubles dominant assumptions about what different identities of age entail, meaning that her oeuvre should be read as a ‘genealogy’ of age. I argue that the central question of Barker’s work is if, and how, the child can be written. She wrestles with this question for over thirty years, writing and rewriting the child figure in a number of alternative, innovative forms: the short story, the ‘articulated novel’ and the retropulsive text. In each case she is preoccupied with the ways in which the child mirrors or intertwines with other categories of age that are constructed in opposition to adult identity. The thesis recognises the significance of the child figure in mid-twentieth-century literature and highlights age as a crucial (though under-used) critical concept for reading modernist and after-modernist texts. In this way it contributes to recent literary debates concerning childhood and modernism and also takes part in discussions of age in Childhood Studies and in the newly-emerging field of Age Studies, which recognises age to be an attribute of identity as significant as gender, race, class, sexuality, disability, and so on. The thesis makes a distinct contribution to literary studies by providing the first introduction to Barker’s work and writing life, based not only on in-depth analyses of her published texts but also on extensive archival research undertaken at the A.L. Barker archive at the Harry Ransom Humanities Research Center.
16
Gérardin, Isabelle. "Réécriture de la mémoire de la Grande Guerre et hantise du passé dans la Regeneration Trilogy de Pat Barker." Paris 7, 2012. http://www.theses.fr/2012PA070085.
Full textAbstract:
La Grande Guerre, qui tient une place cruciale dans l'oeuvre de fiction de Pat Barker, est au coeur d'une trilogie, publiée entre 1991 et 1995, qui se compose des romans suivants : Regeneration, The Eye in the Door, et The Ghost Road. La romancière anglaise se propose de réexplorer au fil de ce tryptique le passé tragique du premier conflit mondial, et ce depuis des perspectives renouvelées, refusant ainsi de dépeindre la violence de la guerre à travers des scènes convenues de combats ou bien encore d'horreurs de la vie quotidienne dans les tranchées. Il s'agit plutôt pour elle de réexaminer les multiples traumatismes individuels et collectifs d'un passé au caractère inassimilable dont les blessures et les convulsions restent, encore aujourd'hui, bien présentes dans notre mémoire collective. Pour Barker, l'expérience de la guerre est essentiellement une expérience de la crise : crise des valeurs censées rassembler une nation, crise du sens de l'action humaine, crise de l'intégrité physique et psychique des sujets. . . Cette expérience de la crise peut même aller jusqu'à se muer en une troublante expérience de la schize. Mais la crise n'est pas à l'oeuvre uniquement d'un point de vue thématique dans la Regeneration Trilogy. En effet, la nature même de ce triptyque littéraire, qui se situe au carrefour entre le roman de guerre, le roman historique et la métafiction historiographique, témoigne d'un autre genre de crise : celle de la possibilité même de produire, à la fin du 20ème siècle, une oeuvre de ficiton inattendue sur 14-18 qui sache témoigner des blessures de ce passé dans un authentique souci de pertinence esthétique mais aussi éthiqueThe Great War, which features prominently in Pat Barker's works of fiction, is at the core of a trilogy, published between 1991 and 1995, which includes the following novels : Regeneration, The Eye in the Door, and The Ghost Road. Throughout this literary triptych, the English nevelist sets out to re-explore the tragic past of World War One adopting fresh perspectives on it, thus refusing to depict the violence of war through conventional combat scenes or vignettes showing the horrors of everyday life in the trenches. Instead, she aims at re-examining the many individual and collective traumas of an inassimilable past whose wounds and commotions are still very vivid in our collective memory, even today. For Barker, the experience of war fundamentally amounts to an experience of crisis : a crisis of the values supposed to bind together a nation, a crisis of the meaning of human action, a crisis of the physical and psychological integrity of beings. . . Such an experience of crisis can even result in a disquieting experience of dissociation. Yet, the notion of crisis does not operate merely as a theme in Pat barker's Regeneration Trilogy. The very nature of this triptych, which is at the crossroads between the war model, the historical novel and the historiographic metafiction, is revealing of another type of crisis : a crisis about whether it can still be possible, at the end of the 20th century, to produce an original work of fiction about the First World War capable of bearing true testimony to the wounds of the past with a genuine eagerness to be both aesthetically and ethically relevant
17
Williams, B. G. "Monitoring urban stormwater inflows to the Barker Inlet Wetland in Adelaide, South Australia /." Title page, table of contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09ENS/09ensw7211.pdf.
Full text
18
Mézergues, Juliette. "Pour une esthétique du chaosl : le théâtre de la catastrophe de Howard Barker." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30029.
Full textAbstract:
Howard Barker est un dramaturge, poète, metteur en scène et peintre anglais né en 1946. Il commence à écrire au début des années 1970 et développe dès les années 1980 le concept du théâtre de la Catastrophe. Son théâtre reconnaît comme modèle la tragédie antique, qu’il ampute de sa catharsis et dont il ne garde que le point d’orgue, le chaos. Il place l’acteur au centre car il est le porteur du langage. Ce mémoire analyse les concepts de ce théâtre à travers cinq pièces choisies : les Européens, Gertrude le cri, la douzième bataille d’Isonzo, Und et N’exagérez pas (Désirs et insultes) une déclaration politique sous forme d’hystérie. Dans la première partie, nous développons les grands principes de ce théâtre : la base tragique et son adaptation, l’omniprésence de la mort ; la spéculation que pratique l’auteur sur une base historique ou littéraire ; la mise à mal de la morale à travers le savage ego qui caractérise le personnage catastrophiste. La deuxième partie s’attarde sur la construction de la pièce Catastrophiste : quelle en est sa dramaturgie, comment sert-elle l’expression du désir et place-t-elle le langage au centre de ce théâtre, comment le chaos en est indissociable. La troisième partie analyse l’aspect poétique des trois dernières pièces citées où le secret est prépondérant, où le langage du théâtre de la Catastrophe se radicalise. La quatrième partie relate des expériences avec ce théâtre : spectatrice, auditeur libre, stagiaire et assistante à la mise en scène. Divers points de vue y sont confrontés. La conclusion reprend les concepts du théâtre de la Catastrophe et appréhende sa place dans le paysage théâtral contemporainHoward Barker is a playwright, poet, director and English painter born in 1946. He began to write early 1970 and has developed since the 1980's the concept of The Theatre of Catastrophe. His theatre recognizes Greek tragedy as a model, cutting off its catharsis effect and keeping its climax, the chaos. It puts the actor at the centre because it is the bearer of language. This text analyzes the concepts of this theatre through five selectedplays : The Europeans, Gertrude the Cry, The Twelfth Battle of Isonzo, Und and Don’t Exaggerate (Desires and insults) A Political Statement in the Form of Hysteria. In the first part, we develop the broad principles of this drama : the tragic and its adaptation, the omnipresence of death ; speculation that the author practices from a historical or literary standpoint and questioning morality through the savage ego which characterises the catastrophist character. The second part focuses on the construction of the catastrophist play : what is its dramaturgy, how is it an expression of desire and places the language at the centre of the theatre and how the chaos concept cannot be separated. The third part analyzes the poetic aspect of the last three plays cited in which secrecy is predominant and the language of the theatre of Catastrophe is radicalized. The fourth part relate experiences with this theatre : spectator, free observer , intern and workshop assistant. Such various viewpoints are confronted. The conclusion summarises the concepts of The Theatre of Catastrophe and assesses its place in the contemporary theatrical landscape
19
Cowan, Judith Marjorie. "Creating the British feature film industry : W.G. Barker and G.B. Samuelson, 1909-1916." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500057.
Full text
20
Gunby, Ingrid Jennifer. "Postwar Englishness in the fiction of Pat Barker, Graham Swift and Adam Thorpe." Thesis, University of Leeds, 2002. http://etheses.whiterose.ac.uk/2806/.
Full textAbstract:
The widely-recognised crisis of Englishness in the 1980s and 1990s has generally been explained as a response to the end of empire. If the place of memories of the First and Second World Wars in this crisis has been considered at all, these have generally been assumed to support a nostalgic version of English or British national identity. Taking three contemporary British novelists-Graham Swift, Pat Barker and Adam Thorpe-as examples, however, this thesis argues that the late-twentiethcentury memory of these conflicts is strikingly ambivalent, and that the contemporary crisis of Englishness must be understood not only as postcolonial, but also, in a strong sense, as postwar. The Introduction sets out the parameters of critical discussion of latetwentieth-century Englishness to date and explains my use of the term 'postwar', as marking the continuing cultural legacy of the world wars, and the process of interrogative re-reading of that legacy undertaken in the contemporary fiction I discuss. It also challenges the assumption that 'nostalgia' and a 'healthy' attitude to the past can necessarily be easily distinguished, through a discussion of postFreudian psychoanalytic approaches to mourning and melancholia. Chapter One considers three writers of the early to mid-twentieth century, Siegfried Sassoon, J. B.Priestley, and Elizabeth Bowen, in order to suggest the nature of the questions about Englishness, war and violence which re-emerge with the breakdown of Britain's postwar social and political consensus from the mid-1970s onward. Chapter Two then discusses Graham Swift's early novels, The Sweet Shop Owner, Shuttlecock and Waterland, arguing that critical attention to his metafictional concerns in Waterland has meant that his interest in suburban English life as encrypting memories of war has been overlooked. Chapter Three proceeds to Pat Barker's The Regeneration Trilogy, charting a two-way process of haunting through which contemporary concerns with violence are read back into the historical and literary record of the First World War, and simultaneously seem to re-emerge in the present as the return of the violence underpinning a melancholic cultural attachment to the very English narrative of 'doomed youth'. My discussion in Chapter Four of Adam Thorpe's novels Ulverton, Still and Pieces of Light emphasises their exploration of the violence at the heart of the 'deep England' evoked in heritage representations of Englishness. I suggest, however, that Thorpe's attempts to find appropriate fictional forms for ambivalence and melancholia are at times closer to paralysed repetitions than to interrogations of Englishness. My argument concludes with a reading of Swift's Last Orders, which I contend enacts the beginnings of a movement beyond the wartime end of a certain England and Englishness. Its misreading by critics as parochial and nostalgic, I suggest, indicates the extent of critical misunderstanding of the troubled memory of the world wars in contemporary Britain. It also testifies to the difficulty and the necessity of the creative and critical work on postwar Englishness undertaken by the writers considered in this study.
21
Pelka, Maximilian [Verfasser], Michael [Gutachter] Kellmann, and Jamie B. [Gutachter] Barker. "Psychological relaxation techniques in sports / Maximilian Pelka ; Gutachter: Michael Kellmann, Jamie B. Barker." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1144613477/34.
Full text
22
French, Rachel. "Modelling urban runoff : volume and pollutant concentration of the Barker Inlet Wetland Catchment." Title page, abstract and contents only, 1999. http://web4.library.adelaide.edu.au/theses/09ENS/09ensf875.pdf.
Full textAbstract:
Bibliography :leaves 158-171. A monitoring program, funded by the South Australian government (through the former MFP Development Corporation), was established to monitor the quality and quantity of storm water entering and leaving the wetland. This study formed part of the funded program. Simple regression models were developed; and will assist in the monitoring of performance of the wetland to alleviate the pollutant load into the Barker Inlet.
23
Sjödin, Marie. "Individuella upplevelser av antipsykotisk medicinering : En litteraturstudie med kvalitativ ansats." Thesis, Ersta Sköndal Bräcke högskola, Institutionen för vårdvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-6048.
Full text
24
Fant, Mary P. "Environment, people and planning in Mount Barker, South Australia : problems of the urban fringe /." Title page, table of contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09ENV/09envf216.pdf.
Full text
25
Lacroix, Constance. "Jane Barker et la Trilogie de Galesia : commentaire, annotation et traduction d'une trilogie jacobite." Phd thesis, Université de Valenciennes et du Hainaut-Cambresis, 2013. http://tel.archives-ouvertes.fr/tel-00838505.
Full textAbstract:
Ce travail a pour fin de mieux faire connaître l'oeuvre de la polygraphe jacobite Jane Barker en France, en offrant une première traduction littéraire ainsi qu'un commentaire d'un cycle de trois récits romanesques : The Amours of Bosvil and Galesia -- également connu sous le titre de Love Intrigues --, A Patch-Work Screen for the Ladies et The Lining of the Patch-Work Screen. Afin de rendre plussensible la spécificité de ces textes, la traduction s'efforce de retrouver une langueaussi proche que possible du français des contemporains de Jane Barker. Après unaperçu de la vie de Jane Barker (1652-1732), puis de sa fortune critique au XXesiècle, le commentaire prolonge le travail de contextualisation historique et idéologique ébauché dans l'appareil de notes parallèle (travail également pré-requispar la traduction) en étudiant successivement chacune des trois œuvres du corpus. A l'aide des hypotextes manuscrits de la trilogie, largement construite sur une oeuvre poétique antérieure vouée à une diffusion manuscrite, il s'attache à esquisser, dans la lignée des études critiques influencées par le nouvel historicisme, les résonances intellectuelles et les implications idéologiques, ainsi que les audaces esthétiques d'une oeuvre longtemps considérée comme alimentaire et comme dominée par la recherche d'une respectabilité propre à l'écrivain femme. Abandonnant l'image posthume de Jane Barker comme fille autoproclamée de la chaste Orinda, il souligne la pluralité du discours Barkerien - méditation, plaidoyer pro-Stuart et injonction, mais aussi interaction de codes romanesques en constitution et d'une idéologie subversive.
26
Groves, Peter A. "Sacred tragedy : an exploration into the spiritual dimension of the theatre of Howard Barker." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72932/.
Full textAbstract:
Although Barker began in the early 1970s as a Marxist satirical playwright, by 2005 his approach had shifted in focus to such an extent that he felt able to define his theatre as having ‘many of the characteristics of a religion.’ This study investigates the relationship between Barker’s theatre and religious and spiritual ideas, focusing on two key influences: the medieval Christian mystical theologian Meister Eckhart and religious and mythic elements of ancient Greek tragedy. Barker’s dramatic engagement with Abrahamic monotheism reveals his interest in early biblical portrayals of God and his appropriation of dominant Christian tropes, notably apocalypse and rebirth. The specific influence of Eckhart’s apophatic theology, his Neoplatonic conception of the One and his doctrine of ‘detachment’ are shown to inform aspects of Barker’s work, including his theoretical text Death, The One and the Art of Theatre. Greek tragedy is examined as a religious and ritual event, establishing parallels with Barker’s view of tragedy as a sacred art that challenges rational and moral ideals by generating ecstatic emotions through an imagined proximity to death. Greek narratives that centre on an encounter with the dead, nekyia and katabasis, are explored in connection with Barker’s drama, along with ritual initiation in Greek mystery cult. Finally there is an investigation into the immoral, ecstatic, erotic, and thanatic aspects of the female protagonist in Greek tragedy and how these aspects of the tragic female continue and are appropriated in Barker’s contemporary tragedy. Eckhartian mystical theology and elements of classical tragic spirituality help to give Barker’s theatre a unique and mysterious dimension. The recurring antagonistic female archetype of ‘the one’ in Barker’s drama expresses core aspects of this spirituality: sexual ecstasy, proximity to death, and detachment from morality and ideology.
27
Grönberg, Emmy, and Natalia Hultén. "Att leva med bipolär sjukdom : En litteraturöversikt." Thesis, Ersta Sköndal Bräcke högskola, Institutionen för vårdvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-6535.
Full textAbstract:
Bakgrund: Bipolär sjukdom karaktäriseras av att sinnestillståndet pendlar mellan höga och låga stämningslägen. De växlande sjukdomsepisoderna bidrar till en komplex livssituation för patienten. Patientens symtombild står som grund för diagnostisering av bipolär sjukdom och behandling inriktas främst på farmakologisk behandling och även psykoterapi vid behov. Utöver det beskrivna krävs ett gott samarbete mellan anhöriga, patient och vårdpersonal. Detta är väsentligt för att patienten ska erhålla ett adekvat stöd och samtidigt öka förutsättningarna för god följsamhet av sin behandling. Syfte: Syftet var att belysa patienters upplevelser av att leva med bipolär sjukdom. Metod: Denna uppsats är en litteraturöversikt och elva vetenskapliga artiklar med kvalitativ metod har analyserats. Resultat: Utifrån analysen skapades fem huvudteman med tillhörande underteman. Fem huvudteman formades: Det sociala sammanhanget, Identitet och förlorad kontroll, Upplevelsen av sjukdomssymtom, Att bli stigmatiserad och Att medicinera- En ambivalent upplevelse. Resultatet visar att patienter upplevde bristande kunskap från omgivningen gällande bipolär sjukdom vilket ledde till isolering och en känsla av identitetsförlust hos patienterna. Diskussion: Bipolär sjukdom kräver i många fall ett starkt socialt nätverk för att patienten ska få stöd i sin hantering av sjukdomen och omgivningen kan bidra med både positiva och negativa upplevelser för patienten. För att patienten ska erhålla ett adekvat stöd krävs det vid bipolär sjukdom kunskap och förståelse från omgivningen samt vårdpersonal. Phil Barkers omvårdnadsteori belyser samarbete med anhöriga och evidensbaseradeverktyg, som fokuserar på patientens berättelse, som avgörande komponenter i patientens omvårdnadsprocess.Background: Bipolar disease is characterized by a state of mind that commutes between high and low mood swings. The variating episodes contribute to a complex life situation for the patient. The patient’s symptoms are used for diagnosing bipolar disorder and treatment is primarily pharmacological treatment and psychotherapy commonly used when needed. Furthermore good cooperation between relatives, patients and healthcare professionals are required. This is essential so that the patient can receive adequate support and also increase presumptions for good compliance with treatment. Aim: The purpose was to illustrate patients’ experiences of living with bipolar disorder. Method: This essay is a literature review and eleven scientific articles with qualitative method have been analyzed. Results: Based on the analysis, five main themes were created with associated subtheme. Five main themes emerged: The social context, Identity and loss of control, The experience of disease symptoms, Becoming stigmatized and Being medicated- An ambivalent experience. The result shows that patients experienced insufficient knowledge from the environment regarding bipolar disorder which has led to isolation and a sense of identity loss in patients. Discussion: Bipolar disorder requires in many cases a strong social network in order for the patients to receive support in their management of the disease and the environment can contribute with both positive and negative experiences for the patient. In order for the patient to receive adequate support, bipolar disorder requires knowledge and understanding from the environment as well as healthcare professionals. Phil Barker's Nursing Theory illustrates collaboration with relatives and evidence-based tools, that focus on the patient's story, as crucial parts of the patient's nursing process.
28
Gravel, Jonathan. "Prenatal Exposure to Maternal Cigarette Smoke and Offspring Body Mass Index: A Prospective Study of Québec Children." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20247.
Full textAbstract:
Concern is mounting over the increase in prevalence and severity of overweight and obesity in children worldwide. Intrauterine life has been identified as a critical period for the development of overweight or obesity and other related chronic diseases. Prenatal exposure to maternal cigarette smoke (PEMCS) has consistently emerged as an important risk factor for excess weight in the offspring and is a targetable behaviour for prevention strategies.
This study examines first the relationship between PEMCS and overweight status of children at 10 years of age and second, whether PEMCS is associated with distinct longitudinal BMI trajectories. Analyses include multivariate and multinomial logistic regression and longitudinal group based modeling methods.
PEMCS was found to be a significant risk factor for overweight in children independent of birth weight and catch-up growth. However, PEMCS was not associated with BMI trajectory membership. Our results lend support to the paradigm of in-utero excess weight prevention.
29
Green, Ashley. "Trauma Inscribed on the Body in Pat Barker's Regeneration Trilogy." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/611.
Full textAbstract:
AN ABSTRACT OF THE DISSERTATION OF ASHLEY GREEN, for the Doctor of Philosophy degree in English, presented on November 5, 2012, at Southern Illinois University Carbondale. TITLE: TRAUMA INSCRIBED ON THE BODY IN PAT BARKER'S REGENERATION TRILOGY MAJOR PROFESSOR: Dr. Michael Molino In the nineties, British writer, Pat Barker, completed a sequence of novels entitled The Regeneration Trilogy in which she set to the task of understanding trauma in relation to our notions, or mis-notions rather, of WWI. In this trilogy, the author does not simply engage a discussion of the past through the integration of historical figures, personal recordings, and accurate accounts of society and the Western Front during 1917-1918; but through the complexity of her characters' personalities and lives a rather comprehensive evaluation of trauma and its effects on the subject emerges. In the initial book in her sequence, Regeneration, Barker is specifically interested in the ways in which the physical symptoms of war neurosis communicate the nature of an internal crisis, and how those very same manifestations enlighten our understanding of the obstacles of traumatic communication. Dr. Rivers's role as a therapist who endorses the "Talking Cure" establishes language as the key element to the process recovery, proposing, then, it is through a dialectical relationship that the wound[ed] can speak; language, for Barker, is the link reconnecting individuals to their trauma, subjects to their past and present selves, and, ultimately, the soul to its body. It is really through the process of integrating history and fiction that the author is able to evaluate the full breadth of Great Britain's traumatization during WWI. As Barker moves through her trilogy, her observations of trauma increase in scope as Dr. Rivers moves from Craiglockhart, Scotland, ultimately, to London working at the Empire Hospital with Dr. Henry Head. Initially, Dr. Rivers treats specifically shell-shocked soldiers but by The Eye in the Door, Rivers begins treating officers of a different branch, pilots of the Royal Flying Corps; and by the final book in the sequence, The Ghost Road, the doctor applies his clinical theories to both physically and emotionally damaged patients. In direct relation to Dr. Rivers's greater perspective, Barker also brings to light her observations of total traumatization by depicting her female characters as subverted elements of society and locales of crisis. In addition, Barker represents culture as one that also displays obvious clues of violence and traumatization. Ultimately, Barker does all this to make a comprehensive observation of trauma: the physical always reveals evidence of its experience. Through reading the material of -- and written on the body--we can only begin to understand fully the complex nature of trauma and the way in which it has entirely disrupted, yet composed our historical identities.
30
Sidawi, Sawsan. "Morality and gender in the works of the playwrights of the New Drama Movement 1894-1914." Thesis, Bangor University, 2000. https://research.bangor.ac.uk/portal/en/theses/morality-and-gender-in-the-works-of-the-playwrights-of-the-new-drama-movement-18941914(5803585b-fc1e-4457-8569-e4882471f3a2).html.
Full text
31
Pindur, Lukáš [Verfasser], John H. [Akademischer Betreuer] Barker, John H. [Gutachter] Barker, and Dirk Günter [Gutachter] Henrich. "Time course of traumatic neuroma development/role of electrical stimulation in inhibition of neuroma formation in a rat limb amputation model / Lukáš Pindur ; Gutachter: John H. Barker, Dirk Günter Henrich ; Betreuer: John H. Barker." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2020. http://d-nb.info/121517991X/34.
Full text
32
Imran, Mamdouh Yousef. "A study of the plays of Howard Barker, with special reference to the artist figures." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328722.
Full text
33
Higginson, Gareth Edward. "The ecotourism potential of the Barber Inlet Wetlands, South Australia." Title page, table of contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09ENV/09envh637.pdf.
Full textAbstract:
Bibliography: leaves 127-134. This thesis argues for the expansion of ecotourism in the Adelaide metropolitan Barker Inlet Wetlands, currently used for small scale ecotourism. Through analysing current literature and evaluating a range of ecotourism strategies, it demonstrates that the potential for and offers guidelines for ecotourism in the Barker Inlet Wetlands. Opprtunities for expansion lie primarily in environmental education, with a particular focus on Adelaide secondary schools.
34
Barker, Tina Marie. "A description of sleep patterns and sleep hygiene practices for adults in cardiac rehabilitation programs in Southern Montana." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/barker/BarkerT0509.pdf.
Full textAbstract:
Despite the importance of coronary heart disease (CHD) as a major health problem and cardiac rehabilitation as a means of secondary prevention, no previous studies have been found which describe sleep patterns and sleep hygiene practices in this population. Sleep is essential for mental and physical well being and good sleep hygiene practices promote high quality sleep. Poor sleep quality can increase the risk of a myocardial infarction in persons with CHD. The purpose of this descriptive study was to describe sleep patterns and practices of adults diagnosed with CHD and participating in a cardiac rehabilitation program. Two survey tools, the Pittsburgh Sleep Quality Index and the Sleep Hygiene Index, were used to collect data on a convenience sample of 31 adults participating in cardiac rehabilitation programs located in southern Montana. The questionnaires were returned with a response rate of 69.3%. Study results indicate poor sleep quality in this sample population which was primarily due to poor sleep efficiency and sleep disturbance. Sleep hygiene practices of this sample were relatively good, with only a few areas of deficiencies observed. The findings from this study provide a basis for future research. Future research needs to approach the cardiac rehabilitation population on a larger scale and determine if specific sleep hygiene practices correlate with poor sleep quality. Nurse practitioners and other providers can incorporate this knowledge into interventions to promote sleep and sleep hygiene practices.
35
Lamb, Charles. "Irrational theatre : the challenge posed by the plays of Howard Barker for contemporary performance theory and practice." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/34731/.
Full textAbstract:
This study arose out of an awareness that contemporary performance theories and production techniques were not appropriate to the plays of Howard Barker. The first section, a comparison of Barker with Edward Bond, attempts to 'situate' the former with reference to a major dramatist of the seventies and early eighties. This reveals a number of significant differences, including almost diametrically opposed conceptions of the function of drama. In the second section, I consider Barker against a wider background of deconstructive and postmodernist thinking. As opposed to Bond's Brechtian notion of a Rational theatre, I argue that Barker's theatre is irrational and suggest that irrational interaction is Seduction. Barker's plays are considered from the point of view of a theory of seduction - in particular Jean Baudrillard's. There follows a review of a range of discourses on performance by influential practitioners such as Stanislavsky. Although seduction is identifiable in all their practices, it is almost universally denied or shunned - except by Grotowski. Also the focus of acting technique is invariably on the actor/character relation with little consideration of interaction with others. The third section considers in some detail two plays by Barker - JUDITH and THE CASTLE, analysing them from a seductive perspective.
36
Price, Amanda. "The theatre of promiscuity : a comparative study of the dramatic writings of Wole Soyinka and Howard Barker." Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/313/.
Full textAbstract:
The word 'artist serves as a pivot to the major concerns of this study. Consideration of its application and meaning in relation to contemporary society facilitates a detailed exploration and analysis of selected dramatic writings by Wole Soyinka and Howard Barker. The comparative nature of this work begins by charting the parallel journeys of these writers - within widely differing cultural contexts - from a critique of social determinations which serve to define and bound authorial intent to a process of "promiscuous" self-definition whereby the artistic imagination is used to name and designate a specific relationship to the cultural and social structures within which their work will be received. Working from a theoretical base which, in the case of Soyinka, finds its foundations in critique and commentary upon nationalist discourse, and in the case of Barker, rests upon contemporary critiques of Enlightenment reason, the study debates their development of theatrical form within both social and cultural contexts. Emphasis is placed upon the relationship of the author to the dramatic text, the creation of character and the defined channels of communication through which dramatic performance is to be received by the spectator. The concept of 'transgression' is explored as a key principle by which to define the 'theatrical' as opposed to the 'social' text. Chapters Four and Five link the work of Howard Barker and Wole Soyinka through the application of Nietzschean philosophy, with especial emphasis being placed upon the concept of genealogical history, the creation of the aesthetic, and the consideration of 'tragedy' as a means by which to offer resistant critique to the social imperative of national citizenship as a badge and boundary to identity. The formation of the 'tragic' or 'catastrophic' individual is explored through key dramatic texts, thus allowing dramatic form the status of a discourse in its own right. Throughout the study an attempt is made to develop an argument which allows the artist to be distinguished as one who speaks to his nation, rather than for his nation. With regard to the work of Barker and Soyinka this has involved both the exposure and exploration of a theatrical space unmapped by social cartography, and a peopling of the stage with creations who could be described as 'ethical' rather than 'political' individuals.
37
Long, Nigel Jeremy. "Aspects of a radical postmodern theatre." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267225.
Full text
38
Prescott, Sarah Helen. "Feminist literary history and British women novelists of the 1720s." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361324.
Full text
39
Sandström, Veronica. "The room will set you free : A Feminist Reading of Clive Barker’s The Hellbound Heart." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-14027.
Full textAbstract:
The enclosed room is in classic Gothic novels closely connected to its female characters, and often works as a mean to suppress them. Clive Barker, however, while working within the Gothic genre, uses the enclosed room in novel ways in The Hellbound Heart, creating a type of Gothic female character that is different from the classical stereotype. By comparing the enclosed room and the female characters in Barker’s The Hellbound Heart to the classical model, in particular as represented by Charlotte Brontë’s Jane Eyre, this essay will show how Barker uses the room in a new way: he breaks away from the classic motif of the room as a means of female sexual oppression and instead depicts female characters taking charge of the room and therefore of themselves and their own sexuality.
40
Bumbas, Alexandru. "Interroger l'émergence d'une nouvelle forme dramatique ˸ la "dystopie théâtrale" dans les réécritures contemporaines de Shakespeare (Müller, Bond, Barker)." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA002.
Full textAbstract:
Associant l’analyse du discours esthétique des auteurs comme Müller, Bond et Barker, à l’étude dramaturgique de leurs réécritures respectives de Shakespeare, cette thèse a pour but de s’interroger sur l’émergence d’une nouvelle forme dramatique – la dystopie théâtrale. En faisant appel à l’instrumentalisation de la catastrophe, à la fois shakespearienne et historique, les dramaturges s’empressent à écrire des pièces qui partagent presque la même vision sur l’avenir du monde et de l’homme. L’apocalypse du roi Lear et la vision cauchemardesque qu’Hamlet porte sur le monde sont greffées, par les dramaturges, sur des tissus dramatiques étayés déjà sur les traces des barbaries du XXe et XXIe siècles. En tant qu'écritures résolument catastrophistes, les « dystopies théâtrales » s’opposent, à première vue, à toute fonction utopique. Néanmoins, le ton apocalyptique (au sens derridien du terme) qui les caractérise, cache des fonctions esthétiques qui questionnent à nouveau la catharsis et la nature même du théâtre. En analysant ces fonctions, nous tentons de démontrer que ces formes dramatiques peuvent être vues aussi comme des dramaturgies censées provoquer l’éveil des consciences et ressusciter ainsi la pulsion utopique que l’Humanité semble avoir perdue. En plus d’une épuration émotionnelle (qui elle-même est remise en question), la dystopie théâtrale est aussi caractérisée par une catharsis inversée, dans le sens d’une surcharge intellective et d’une rétention émotionnelle qui touche souvent le paroxysme. Quel lien entre l’Utopie et la « dystopie théâtrale » ?This thesis emphasizes the emergence of a new dramaturgical form – the theatrical dystopia. The study analyses the aesthetical discourse of authors such as Heiner Müller, Edward Bond and Howard Barker, as well as their contemporary rewritings of some of Shakespeare’s plays. Through their conceptualization of the Catastrophe, both Shakespearian and historical, these authors seem to have the same vision of the future of the world and the humans. King Lear’s apocalypse and the nightmarish “Hamletian” vision of the world are grafted on modern literary “tissues”, which are already imbued with the traces of the catastrophes from twentieth and the twenty-first century. Theatrical dystopias seem opposed to every utopian function. Nevertheless, le ton apocalyptique (Derrida) which characterizes them hides aesthetical functions, which cast new meanings to the catharsis notion and the nature of the theatre. By analyzing these functions by and large, this study shows that these new dramaturgical forms are to be seen as writings that highlight awareness and resuscitate the utopian impulse that the Humanity seems to have lost. Despite a strong emotional discharge (which also acquires new functions), theatrical dystopias are also characterized by inverse catharsis – a cerebral and emotional retention which often touches paroxysm. What is thus the connection between Utopia and theatrical dystopia?
41
Peacock, Martin Henry. "Five approaches to political theatre : Howard Brenton, David Hare, David Edgar, Roger Howard, Caryl Churchill and Howard Barker." Thesis, Loughborough University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291727.
Full text
42
Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.
Full textAbstract:
The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Georg Lukács, Antonio Gramsci, Walter Benjamin, Viktor Shklovsky, Bertolt Brecht and Jean-Paul Sartre. This investigation concentrates on the conceptualization and contribution of those intellectuals to the definition of the role of the artist. Though I focus mainly on the period from the 1970s to the 2000s onwards, by analysing the dramatic texts of three British playwrights: Tom Stoppard, Howard Barker, and Timberlake Wertenbaker, I also discuss the decade following John Osborne’s Look Back in Anger (1956). In this manner, I trace the key changes that have taken place in British theatre during the second half of the 20th century. Though there is an abundance of critical material on the subject which focuses on the figure of the artist to show self-referral for the dramatist, the present thesis goes beyond that to highlight the role and responsibility of the artist in British theatre, the function of art, the potential dilemmas he or she may confront and the economic and political circumstances surrounding them. The plays examined in this thesis range from those depicting the problematic role of the artist as an intellectual, who is torn between morality and immorality, as in Stoppard’s Artist Descending a Staircase (1972) and Travesties (1974), to those which reject the utilitarian function of art, for example Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984). In the case of Wertenbaker, I highlight the role and dilemmas of female artists as they use theatre as a means to show the hegemonic political and economic constraints imposed on their artistic creativity. By analysing several of Wertenbaker’s plays which centre on the use of the artist as a character, her Three Birds Alighting on a Field (1991) and The Line (2009), reflect the relationship between male and female artists and the dilemmas they faced. This thesis poses the following questions: as a fictional character, how can the artist function as a member of a certain community whilst at the same time retain the distinctiveness of his or her role as an outsider? Is he or she committed to the creative work or to the social usefulness of society? If so, can we expect art or the artist to have the answer to society’s problems? Or is that an overly high expectation to place on the artist? How did artists feel living in a society under censorship? How can they avoid being censored? And if they failed, what is the price of free expression? Springing from the discussion about the dilemmas of the artist in British theatre, it will become apparent how these dilemmas, represented by fictional characters, bring forth the dominant plays about artists. Within the framework of the above mentioned playwrights, it is demonstrated that the pressing dilemma which radical artists are faced with nowadays are multiple: social, commercial and political.
43
Vamvakopoulos, Kyriakos [Verfasser], Ole [Akademischer Betreuer] Larsen, Bo Barker [Akademischer Betreuer] Jørgensen, and Sabine [Akademischer Betreuer] Kasten. "Plastifying marine microhabitats -exploring biogeochemical processes in microscale / Kyriakos Vamvakopoulos. Gutachter: Bo Barker Jørgensen ; Sabine Kasten. Betreuer: Ole Larsen." Bremen : Staats- und Universitätsbibliothek Bremen, 2011. http://d-nb.info/1071898523/34.
Full text
44
Murphy, Sarah Elizabeth. "An investigation into the treatment efficiency of a primary pond in the Barker Inlet Stormwater Wetland System, South Australia /." Title page, table of contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09ENS/09ensm978.pdf.
Full textAbstract:
Thesis (M.Eng.Sc.)--University of Adelaide, Dept. of Civil and Environmental Engineering, 2000?Corrigenda pasted onto front end-paper. The CD contains Excel spreadsheets containing data collected. Bibliography: leaves 209-222.
45
Obis, Eleonore. "Le corps en jeu dans le théâtre anglais contemporain (1983-2010) : Edward Bond, Howard Barker, Martin Crimp et Sarah Kane." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040262.
Full textAbstract:
Le théâtre est le lieu d’un rapport privilégié au corps, dans la co-présence du corps de l’acteur et du corps du spectateur au moment de la représentation théâtrale. Il est l’arène privilégiée où s’observe l’impact des bouleversements qui ont modifié les codes de la représentation au cours du vingtième siècle. Le théâtre anglais contemporain attire les regards sur le spectacle d’un corps souffrant, exhibé, violenté (théâtre In-yer-face, théâtre de la Catastrophe) et dans le même temps propose la représentation d’un corps spectral dans un théâtre influencé par Beckett. Ces deux tendances – corps spectacle et corps spectral – sont les signes visibles d’une crise de la représentation du corps et de la déconstruction du sujet. Les auteurs que nous avons choisis pour cette étude (Edward Bond, Howard Barker, Martin Crimp et Sarah Kane) se sont imposés comme les figures de proue d’un théâtre non-naturaliste, poétique et subversif, qui font du corps le pilier de leurs esthétiques. Notre étude se présente comme une anatomie du « corps esthétique » (Roland Barthes) dans une perspective comparatiste des dramaturgies abordées. Elle explore le rôle du corps dans tous les domaines de la représentation : Comment le texte construit-il le corps ? Comment le corps envahit-il le texte ? Quelles sont les stratégies mises en œuvre pour représenter le corps dans le passage de la page au plateau ? Quelle est la place du corps de l’acteur ? du corps du spectateur ? Parce que « le » corps n’existe pas, les théâtres du corps en jeu ne cessent d’affirmer le potentiel illimité du corps en exposant la labilité du corps du personnage, de l’acteur et du spectateurThe theatre is a privileged site to understand the body, because of the copresence of the body of the actor and that of the spectator during the representation. It is the privileged arena where we can observe the consequences of the upheavals that changed the conventions in representation in the course of the twentieth century. English contemporary theatre attracts our attention both to the spectacle of a suffering body, which is also exposed and violated (In-yer-face theatre, the theatre of Catastrophe) and that of a spectral body, in a theatre influenced by Beckett. These two trends – the body as spectacle and the spectral body – are the visible signs of a crisis in the representation of the body and the deconstruction of the subject. The authors chosen for this study (Edward Bond, Howard Barker, Martin Crimp and Sarah Kane) are the figureheads of a non-naturalistic, poetic and subversive theatre. The body is at the core of their aesthetics. Our contention is to develop an anatomy of the “aesthetic body” (Roland Barthes) with a comparative approach of the works, and to investigate the role of the body in all the different fields of representation: How does the text create a body? How does the body invade the text? What are the strategies at stake to represent the body in the translation from page to stage? How is the body of the actor used? How is the spectator’s body affected? Because it seems there is no such thing as “the” body, the theatres of the “body-at-play” try to reassess the limitless potential of the body, to deliver it from all constraints, and to expose the lability of the character’s body, as well as the actor’s and the spectator’s
46
Westerblom, Björn. "Konstruktionen av en karismatisk ledare : En jämförande studie av Raël och L. Ron Hubbard." Thesis, Högskolan Dalarna, Religionsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30390.
Full textAbstract:
Syftet med detta arbete är att använda en komparativanalys för att påvisa likheter och olikheter hos två ledare för nya religiösa rörelser; den Raeliska rörelsen och Scientologikyrkan. Uppsatsen utgår från en kvalitativ metod där rörelsernas eget material såväl som publicerade texter från forskare som studerat rörelserna studerats. Ledare av olika rörelser tillskrivs ofta en karisma vilket får människor att följa dem. Karisma behöver inte bara vara knutet till en person utan även till föremål som exempelvis texter hen producerat. Processen där följarna till en person med karisma lär sig känna igen och erkänna ledarnas karisma kallas karismatisering. De två begreppen har undersökts av Eileen Barker och uppsatsen undersöker hur dessa processer gestaltats när de två ledarna Raël och L. Ron Hubbard beskrivs av sina respektive rörelser. Uppsatsen har kunnat visa att de två ledarna tillskrivs unika egenskaper och kunskaper som gör dem till mer än vanliga människor. De två ledarnas beskrivs som utvalda av en högre makt för att kunna leda människor till ett bättre liv och mående. Uppsatsen har kunnat visa att de två ledarna som undersökts tillskrivits karisma av sina rörelser och hur de fått den tillskriven genom de hagiografier som skapats för att beskriva deras liv som unika.
47
Alden, Natasha. "Reading behind the lines: postmemory, history and narrative in the novels of Graham Swift, Pat Barker, Adam Thorpe and Ian McEwan." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491589.
Full text
48
Kelly, Dylan. "Crisis, Shell-Shock, and the Temporality of Trauma: Cultural Memory and the Great War Combatant Experience in Owen, Graves, and Barker." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1604.
Full textAbstract:
The year 2014 will mark the centennial of the outbreak of World War I in August 1914. This historic anniversary will likely provoke several discussions from all fields in the humanities concerning the Great War's significance on contemporary culture through history, visual art, and in the case of this essay: literature. In light of this event, any serious discussion among scholars should undeniably begin with how the war continues to be represented today through a thorough, contemporary analysis of its many key literary texts. This essay will examine, in this regard, how past and contemporary discourses in literary theory-primarily concerned with how an individual combatant subject attempts to construct and understand their own traumatic experiences through poetic and literary discourse-can continue to incite discussion on why literature of the Great War and its influential role in defining how it has come to be understood in our cultural memory remains relevant even today. Under the guiding influence of Paul Fussell's classic The Great War and Modern Memory, I will discuss how three important works-a poetry collection, a memoir, and a modern work of historical fiction-all contribute to how the war has become represented as a tragic rupture in history that reversed the idea of human progress and left an entire generation disillusioned in its aftermath, regardless of the historical veracity of this legacy. The texts I will be examining include: select poems of Wilfred Owen, Goodbye to All That by Robert Graves, and Regeneration by Pat Barker. In addition to this, I will conclude with an analysis of how a contemporary reading of these texts can contribute to a larger discussion of the crisis of historicity in our current post-modern cultural landscape.B.A.
Bachelors
English
Arts and Humanities
49
Decamp, Eleanor Sian. "Performing barbers, surgeons and barber-surgeons in early modern English literature." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:42cdcea1-56b8-4d3d-961f-d2a3e7fa0d13.
Full textAbstract:
This study addresses the problem critics have faced in identifying contemporary perceptions of the barber, surgeon and barber-surgeon in early modernity by examining the literature, predominantly the drama, from the period. The name ‘barber-surgeon’ is not given formally to any character in extant early modern plays; only within the dialogue or during stage business is a character labelled the barber-surgeon. Barbers and surgeons are simultaneously separate and doubled-up characters. The differences and cross-pollinations between their practices play out across the literature and tell us not just about their cultural, civic and occupational histories but also about how we interpret patterns in language, onomastics, dramaturgy, materiality, acoustics and semiology. Accordingly, the argument in this study is structured thematically and focuses on the elements of performance, moving from discussions of names to discussions of settings and props, disguises, stage directions and semiotics, and from sound effects and music, to voices and rhetorical turns. In doing so, it questions what it means in early modernity to have a developed literary identity, or be deprived of one. The barber-surgeon is a trope in early modern literature because he has a tangible social impact and an historical meaning derived from his barbery and surgery roots, and consequently a richly allusive idiom which exerted attraction for audiences. But the figure of the barber-surgeon can also be a trope in investigating how representation works. An aesthetic of doubleness, which this study finds to be diversely constructed, prevails in barbers’, surgeons’ and barber-surgeons’ literary conception, and the barber-surgeon in the popular imagination is created from opposing cultural stereotypes. The literature from the period demonstrates why a guild union of barbers and surgeons was never harmonious: they are opposing dramaturgical as well as medical figures. This study has a wide-ranging literary corpus, including early modern play texts, ballads, pamphlets, guild records, dictionaries, inventories, medical treatises and archaeological material, and contributes to the critical endeavours of the medical humanities, cultural materialists, theatre historians and linguists.
50
Ignatius, Henni. "Den (o)synliga Briseis : En komparativ litteraturanalys av relationen mellan Akilles, Patroklos och Briseis i Homeros Iliaden och Pat Barkers The Silence of the Girls." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39991.
Full textAbstract:
The (in)visible Briseis. A comparative literary analysis of the relationship between Achilles, Patroclus and Briseis in Homer’s Iliad and Pat Barker’s The Silence of the Girls The purpose of this essay is to compare the relationship between Achilles and Patroclus in Homer’s Iliad (700s BC) and Pat Barker’s The Silence of the Girls (2019), while also looking into the role of Briseis and how the story differs when it is told from her point of view. Through the analysis I find that the relationship between Achilles and Patroclus have always been intense. I argue, however, that the intensity is given more depth and meaning when described from different perspectives, such as that of Briseis and Achilles himself, as is done in The Silence of the Girls. With the help of Kevin Goddard’s theory of the male gaze, the perspective of both Briseis and Achilles become invaluable for interpreting the relationship between the characters, as well as the characters themselves. For Achilles, the gaze of his mother influences him in a negative way in his relationship with Briseis, while the gaze of Patroclus causes changes in his mentality. I argue that this has to do with the Oedipus complex. For once, Briseis is not invisible and even though she continues to be the slave everyone expects her to be, she is, through the gaze, able to create her own story once that of Achilles ends. It is still the story of the great Achilles, but one in which he is also human.