ItemIn tracing the order of things: an interview with visual artist Vanessa Donoso López(SAHKartell, 2018) Donoso Lopez, Vanessa; Cashell, FionaCatalonian artist Vanessa Donoso López has been living and working in Dublin for much of her professional career. She exhibits widely, with successful solo shows this year in Kevin Kavanagh Gallery, Dublin, and Golden Thread Gallery, Belfast. Her practice is interdisciplinary and developed within a dialogical framework; exploring a variety of media and mechanisms as she moves from project to project, working with ceramics and paper, site-specific installation, sculpture, electronics and low-tech wearable technology. Conceptually López attempts to negotiate the tension between cross-cultural identities and narratives, their instabilities and complexities, and their potential for the loss of identity and language. Her work is deeply connected to something that connects within us all; highlighting the movement of time as viewed through the lens of the metaphysical self—manifested, changed, reinvented or forgotten. Her creative approach showcases a sensitive awareness for the experiences she encounters as both migrant and researcher: one who moves between the familiar and the unknown, between landscape and history, and between the varying points of origin that shape and define us. ItemApplying Ajzen’s theory of planned behaviour: changing physical activity health behaviour with activity-tracking technology(SAHKartell, 2018) O'Shea, Colin; Frazer, PatriciaPairing modern day technology with Azjen’s popular Theory of Planned Behaviour, the objectives were to i) determine whether a mobile connected activity-tracking device could change physical activity (PA) health behaviour, ii) test whether the theory of planned behaviour (TPB) could predict participation in physical activity, measured by mobile technology, iii) determine if PA engagement is correlated with mobile communication usage and vehicle journey time. Participants consisted of 41 males and 28 females (N=69), each completing standard TPB measures at baseline. Intervention included a health warning/advice sheet and the physical attachment of an activity-tracking device paired with a mobile application for the duration of two weeks. The data retrieved included the participant’s daily steps count, the participant’s daily time spent travelling by motor vehicle or not, and the participant’s daily amount of mobile communication usage time. A statistically significant increase in activity was observed in the device-wearing group, with a medium effect size. Findings did not support the TPB as a predictor of PA engagement in a technology intervention context. There was no statistical relationship between PA participation and mobile communication usage or vehicle journey time. Findings suggest a basis for developing interventions to include mobile connected devices for improved behavioural health. ItemFás an Chraoibhín(SAHKartell, 2018) Tobin, FeenaDo bhí Dubhghlas de hÍde mar chuid de mhionlach in Éirinn agus é ag fás aníos mar fhear óg Protastúnach. Ach shocraigh sé dul leis an nGaeilge, teanga a bhain go traidisiúnta go príomha le Caitlicigh na hÉireann agus leis an ísealaicme. Níor tógadh le Gaeilge é ach lean sé air ag plé léi agus ag cur chun cinn na teangan ach cén fáth? Is trí shúil a chaitheamh ar a chín lae ón luaththréimhse seo ina shaol spéisiúil is féidir tuiscint a fháil ar na cúiseanna gur thug sé fé seo. Rugadh de hÍde in 1860 agus chuaigh sé i mbun pinn in 1874 agus é 14 bliain d’aois. Is í an tréimhse sin ina shaol nuair a bhí sé ina chónaí sa bhaile i nDún Gar i gContae Ros Comáin a bheidh fé chaibidil san alt seo - an tréimhse réamhChraoibhíneach, d’fhéadfá a rá. An rud atá i gceist leis an dteideal ná an t-ainm cleite a thug sé air féin ‘An Craoibhín Aoibhinn’ agus imeartas focal maidir leis an mbrí atá leis an ainm úd. Dubhghlas de hÍde was part of the Protestant minority in Ireland during his youth. Despite this he decided to master Irish, a language typically associated with Irish Catholics of the lower classes. He was not brought up with Irish but went on to spend his life promoting the language – what led him to this? Through analysis of his diaries in the earlier part of his life an understanding can be gained of the reasons for this. De hÍde was born in 1860 and he began writing his diary in 1874, aged 14. The article will discuss this early period of his life which he spent in Frenchpark in County Roscommon – the pre-‘Craoibhín’ period you could call it! The title refers to his self-appointed pen-name ‘An Craoibhín Aoibhinn’ (The Delightful Little Branch) and contains a pun on the meaning of this name. ItemReclaiming the monster: abjection and subversion in the marital Gothic novel(SAHKartell, 2018) Mitchell, JaneThis article explores literary representations of women over the centuries, from the witch of children’s fairy tales to the madwoman of the nineteenth century and the sexually voracious vamp of the twentieth century. Within this context, it examines the gothic novels Rebecca (Daphne du Maurier, 1938) and Wide Sargasso Sea (Jean Rhys, 1966) in relation to theories of Julia Kristeva and Margrit Shildrick. Both Kristeva and Shildrick explore the perception of the female form as ‘abject’ and relate this concept to the notion of the ‘monstrous feminine’ in cinema and literature. This article will also examine how these novels have taken the traditional tropes of the gothic genre and subverted them to expose the frustrations of mid-twentieth-century women. The gothic literary genre, initially dominated by male authors, has always been a natural home for both monsters and binary depictions of womanhood. According to Sandra Gilbert and Susan Gubar, this binary view presented women as either angelic wives and mothers, or threats to family life and society. The gothic genre also explores the blurring of lines between these two elements of the binary female, and the terrifying idea of the monster in the home. Both Rebecca and Wide Sargasso Sea belong to a female gothic genre, and specifically to what Michelle A. Massé defines as the ‘marital gothic’, deploying many of the traditional motifs of the Gothic while striving to subvert depictions of womanhood shaped by patriarchal culture. The marital gothic subgenre exposes the rage of women entrapped in traditional, reductive and confining notions of femaleness, and the uncanny environment of the institution of marriage itself.