728 research outputs found
Other dimensions : myth, ritual and sacrifice in Brian Friel's wonderful Tennessee
No full textThis article plots a strain in Brian Friel's drama which canvasses human needs for categories of fulfilment broadly « religious » in nature, which involve subscription to customs and rituals which transcend accepted social norms. Just as Dancing at Lughnasa explores a substratum of pagan lore beneath 1930's Irish rural life, Wonderful Tennessee examines a related need for irrational modes of ritualised self-fulfilment among a contemporary post-Christian urban group. A « double-level » mix of realistic, symbolic and allusive techniques, taking in Christian and Bacchic elements, enacts their developing awareness of this need.Le présent article trace dans le théâtre de Brian Friel la marque de ces aspirations de l'homme qui trouvent leur réponse dans quelque chose de religieux au sens large, soumission à des coutumes et des rites qui transcendent les normes sociales conventionnelles. De la même façon que Dancing at Lughnasa évoque le fond païen qui subsiste dans le monde de la campagne irlandaise des années 30, Wonderful Tennessee étudie le thème voisin de l'irrationnel tel que celui-ci s'exprime dans les pratiques ritualisées d'un groupe social contemporain urbain, post-chrétien. Ce mélange à double détente de techniques où se côtoient le réalisme, le symbolique et l'allusif, où Bacchus rejoint l'élément chrétien, est le vecteur d'une conscience croissante de ces aspirations.Peacock Alan, Devine Kathleen. Other dimensions : myth, ritual and sacrifice in Brian Friel's wonderful Tennessee. In: Études irlandaises, n°22-1, 1997. pp. 85-100
Brian Piccolo Check
No full textBrian Piccolo check presented to Bowman School of medicine Cancer Research Fund from Wake forest University on november 14, 1987. (L-R) don Devine, Eli Powell, Tracy Piccolo, Christy Piccolo, Larry Hopkins, Robert Capizzi
« In Touch With Some Otherness » : the Double Vision of Brian Friel's Dancing at Lughnasa
No full textBrian Friel' s Dancing at Lughnasa is, at one level, and particularly in its first half, an enlivening and comédie theatrical experience that employs music, song and dancing in its depiction of the life of the Mundy family during the three weeks of the Festival of Lughnasa in August, 1936. At its other level the play makes use of the folk customs still observed in the Tyrone in which Brian Friel grew up and by developing their origins in paganism and, in particular, the observances associated with the Celtic god, Lugh, enables him to explore aspects of human need, motivation and experience not amenable to rational explanation or consonant with orthodox Christian belief. In this way the play continues, in anthropological terms, themes already broached in plays such as Volunteers and Faith Healer. The play's mixture of realistic and symbolic techniques provides a « double vision » whereby Friel, within a credible social context, is able to explore these themes as well as others such as the dubieties of narrative and language. It also marks a notable development in his dramaturgical technique in its significant reliance on visual and other non-verbal effects.Dancing at Lughnasa de Brian Friel est à un niveau, et plus particulièrement dans la première moitié, une expérience théâtrale comique et pleine de gaieté qui a recours à la musique, la chanson, et la danse pour décrire la vie de la famille Mundy pendant les trois semaines du Festival de Lughnasa d'août 1936. A un autre niveau, la pièce se sert des coutumes populaires qui étaient encore observées dans le Tyrone, comté où grandit Brian Friel. En faisant remonter leurs origines au paganisme et, en particulier, aux pratiques associées au dieu celte, Lugh, Brian Friel peut explorer les aspects des besoins, des motivations, et des expériences de l'homme qui ne peuvent être expliqués de façon rationnelle et qui ne s'accordent pas avec la croyance chrétienne orthodoxe. Ainsi la pièce poursuit-elle, dans les termes de l'anthropologie, des thèmes déjà étudiés dans Volunteers et Faith Healer par exemple. Le mélange de techniques réalistes et symboliques que l'on trouve dans la pièce donne une « double vision » grâce à laquelle Friel peut, dans un contexte social plausible, explorer ces thèmes ainsi que d'autres comme les incertitudes de la narration et du langage. Cette oeuvre marque aussi une évolution importante dans sa technique théâtrale qui repose d'une manière significative sur des effets visuels et non- verbaux.Peacock Alan, Devine Kathleen. « In Touch With Some Otherness » : the Double Vision of Brian Friel's Dancing at Lughnasa. In: Études irlandaises, n°17-1, 1992. pp. 113-127
Recycled water: potential health risks from volatile organic compounds and use of 1,4-dichlorobenzene as treatment performance indicator
No full textAbstract not availableClemencia Rodriguez, Kathryn Linge, Palenque Blair, Francesco Busetti, Brian Devine, Paul Van Buynder, Philip Weinstein, Angus Coo
Dunn, Brian Mansfield (1940–1965)
No full textBrian Dunn was the first Seventh-day Adventist in mission service in the South Pacific Islands to lose his life by violent means in the course of duty.https://research.avondale.edu.au/esda/1369/thumbnail.jp
The question of gendered voice in some contemporary Irish novels by Brian Moore and John McGahern
No full textThis thesis questions the use of the 'voice' metaphor in contemporary Irish cultural studies in order to examine
the ways in which gendered identities are constructed in some Irish Catholic communities in twentieth-century
Ireland. With reference to novels by Brian Moore and
John McGahern as well as to Judith Butler's theories of performativity and citational practices, it argues that gendered identities are constructed through the repetitive citation of hegemonic cultural discourses. This thesis
focuses on the ways in which gendered identities are produced and maintained through the citation of the official discourses of the Catholic Church and the State as
well as the more mundane discourses related to popular nationalism and the family.
The first two chapters concentrate on novels whose protagonists are trying to construct powerful identities in urban Irish society through the manipulation of gendered discourses. The discussion of Moore's The Lonely Passion of Judith Hearne identifies some of the strategies through which conventional Irish women's voices are constructed
and questions the validity of the category of 'authentic' women's voices. In the chapter relating to McGahem's The
Pornographer, the powerful, abstract male voice is exposed as a performative construct which is sustained only through the abjection of those elements which disrupt the narrator's performance of masculinity.
The remaining chapters concentrate on the use of idealised images such as those of the 'woman-as-nation' and the iconised mother in novels by Moore and McGahem. Moore's The
Mangan Inheritance provides the basis for a discussion of whether or not voices attributed to women in texts by Irish men can be read in ways that disrupt the apparent authority of Irish men's voices. This thesis discusses the issues
raised when men participate in the deconstruction
of idealised images of Irish women. The final chapter examines the processes through which conventional identities are discursively constructed and maintained in two novels by John McGahem: The Dark and Amongst Women. This thesis contends that through the strategic
redeployment of those voices attributed to idealised images of Irish women, voices which are conventionally regarded
as silent, patriarchal gendered identities can be destabilised or displaced
Free as the Air: Rethinking the Law of Story Ideas
No full textThis note discusses idea submissions in Hollywood, arguing for the necessity of idea protection in the entertainment industry. As in copyright, the law should provide protection for ideas to promote progress and incentives to create, thus achieving the aims of intellectual property. Devine states that the most significant form of protection for ideas is achieved through contract law, and he argues that preemption by federal copyright law is endangering idea protection
Free as the Air: Rethinking the Law of Story Ideas
No full textThis note discusses idea submissions in Hollywood, arguing for the necessity of idea protection in the entertainment industry. As in copyright, the law should provide protection for ideas to promote progress and incentives to create, thus achieving the aims of intellectual property. Devine states that the most significant form of protection for ideas is achieved through contract law, and he argues that preemption by federal copyright law is endangering idea protection
Brian Moore: An Ambassador of Feminism
No full textThe present research paper explores the significance of Brian Moore as an angel of feminism through the study of his portrayal of female characters with special context of Irish novels in the 20th century Ireland. He is grown up in a Catholic family. He is one of his parent’s nine children. This paper studies his depiction of women characters with special context to the novels The Feast of Lupercal and Lies of Silence. He has raised the true voice of women of contemporary society at Belfast in Ireland through his fiction. The Feast of Lupercalis the story of a Catholic school teacher, Diarmuid Devine and his girlfriend a Protestant girl, Una Clarke. She is the main female character in this novel. She has been exploited mentally and physically by her ex-boyfriend Michael who was a married man. Later she meets Diarmuid Devine who plays with her emotions and leaves her due to Catholic restrictions. Moore in his next novel Lies of Silence (1990) presents the struggle among the Catholicism, the Protestantism and political uncertainty in Belfast. The main characters in this novel are Michael Dillon and his wife Moira Dillon. Moira Dillon is an innocent, beautiful and well educated unemployed woman. Her husband deceives her and wants to divorce her. She accepts the reality of life and emerges as liberal, bold and patriotic. This paper brings out Brian Moore’s true ability to reveal the world of women through his Irish fiction
Findings on the serologic test for syphilis in adults, United States, 1960-1962
No full textA discussion of the serologic tests for syphilis used, with data on the percent reactive to the Kolmer Reiter Protein test by age, sex, and race, and an analysis of differentials by place, income, education, occupation, and marital status.by Tavia Gordon and Brian Devine.Bibliography: p. 10.1965142980531181
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