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This thesis discusses military motifs and images found in the corpus of Classical Irish poetry, composed between c. 1200 and c. 1650. Extensive use is made of examples from the strictest syllabic metre in Classical Irish poetry, d?n d?reach, taken from published Poem-books, or duanair?, or from manuscript sources, as well as poems only recently made available with the publishing of A Bardic Miscellany, which were hitherto only available on the Irish Bardic Poetry Database compiled by Trinity College Dublin?s Department of Irish. Poems in other syllabic metres, such as ?gl?chas or br?ilingeacht, are also used, as are prose or historical works from the period to clarify the use of certain motifs. ; TARA (Trinity?s Access to Research Archive) has a robust takedown policy. Please contact us if you have any concerns: rssadmin@tcd.ie

Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems' imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet's character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem's poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death. ; Li Shangyin (813–858), eden najbolj občudovanih, skrivnostnih, dvoumnih in provokativnih kitajskih pesnikov, je živel v poznem Tangu (9. stoletje), v obdobju zatona nekdaj veličastne dinastije Tang, ki so ga zaznamovali družbeni nemiri, politična razklanost in mučna vsesplošna negotovost. Slovi kot nadvse izviren in angažiran pesnik, ki je razvil svojski slog, nabit z nejasnimi, težko razumljivimi aluzijami in nenavadnimi podobami, ki jih je črpal iz literarne preteklosti, tj. iz tradicionalnega kanona, mitov in legend, ter iz narave in lastnih izkušenj. Druga značilnost njegove poezije je skrivnostnost, ki nazadnje vodi v dvoumnost. Ta igra osrednjo vlogo v večini njegovih pesmi. V njih mojstrsko povezuje sedanjost s preteklostjo, resnično z namišljenim in zgodovinsko z mitološkim. In prav ta dvoumnost oz. nejasnost pogosto poraja njihove različne, na domišljiji, domnevah in protislovjih temelječe interpretacije posameznih razlagalcev. Ker vsaka poudarja zgolj eno plat pesnikovega značaja, je bolj primerno tisto razumevanje Lijevih dvoumnih pesmi, ki temelji na simbolni ravni, ko pesem sočasno pomeni več kot le eno stvar oz. ko razširi in odpre svojo pomensko pokrajino različnim razlagam.Li Shangyin je pravzaprav najbolj znan po svoji melanholični ljubezenski poeziji, ki razkriva njegov dvoumen odnos do ljubezni, zavit v skrivno sporočilo. Na eni strani je mogoče čutiti njegovo moralno neodobravanje skrivne, vroče, a brezupne ljubezni, na drugi pa njegovo strastno poželenje, kar vodi v medsebojno napetost obeh nasprotnih vidikov, v paradoks. To pomeni, da privlačnost prepovedane ljubezni zahteva visoko ceno. To so pesmi, v katerih Li proučuje različne plati svetov strasti, ki sprožajo v njem tako občutke ljubezenske vzhičenosti, zadovoljstva, radosti in upanja kot tudi občutke dvoma, razočaranja, obupa in celo misli na smrt.

For Le Corbusier, the architect was the authority on living and their role was to know what is best for humans, as it becomes evident from what he declares in The Athens Charter: "Who can take the measures necessary to the accomplishment of this task if not the architect who possesses a complete awareness of man, who has abandoned illusory designs, and who, judiciously adapting the means to the desired ends, will create an order that bears within it a poetry of its own? The paper is focused on the critique of the principles of the Athens Charter and its relation to the attempt to strengthen the articulations between architecture and its social, economic and political context. It examines Team 10's intention to replace the four functions — dwelling, work, recreation and transport — of the Charter of Athens by the concept of the "human association", on the one hand, and to incorporate within the scope of architecture reflections regarding the impact of scale on the design process, on the other hand. The CIAM X was structured around two groups representing the two conflicting generations. As Nicholas Bullock notes, in Building the Post-war World: Modern Architecture and Reconstruction in Britain, the group representing the older generation focused on the work of CIAM since its foundation in the form of a charter similar to the Athens Charter, while the group representing the younger generation tried to extend the work of CIAM to rethink, as Alison and Peter Smithson noted in 1956, "the basic relationships between people and life". The goal of the CIAM X, held in Dubrovnik between 19 and 25 July 1956, was to challenge the assumptions of the Charter of Habitat. During this meeting, which neither Le Corbusier nor Walter Gropius attended, the younger generation consisting of Aldo van Eyck, Jacob Bakema, Georges Candilis, Shadrach Woods, and Alison and Peter Smithson established a new agenda for mass housing, "Habitat for the Greater Number". It was at this CIAM meeting that the Smithsons presented their "Fold Houses". A number of meetings preceding the CIAM X were held in London, Doorn, Paris, La Sarraz, and Padua. The main objective of this paper is to show how the debates that preceded the CIAM challenged the Charter of Habitat.