Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is still viable for today’s university singer-actor educator.

Yes / Objectives: The quality of the relationship between people with dementia and their informal caregiver maybe an important determinant of life satisfaction and well-being for both members of the dyad. Taking a dyadic perspective, the aim of this study was to examine whether self- and partner- rated relationship quality influences life satisfaction and well-being for both people with dementia and their caregivers. Design and methods: Using data from 1283 dyads in the Improving the Experience of Dementia and Enhancing Active Life (IDEAL) cohort, we examined the impact of current relationship quality on life satisfaction and well-being in dementia caregiving dyads. Data were analysed using the Actor–Partner Interdependence Model (APIM) framework. Results: Self-rated relationship quality was associated with own life satisfaction and well-being for both people with dementia and caregivers. Partner-rated relationship quality did not influence own life satisfaction or well-being for either member of the dyad. Conclusion: This study is the first to use the APIM framework to explore the dyadic associations between relationship quality and life satisfaction and well-being in a large cohort of dementia caregiving dyads. The obtained findings suggest that the individual perception of the quality of the caregiving relationship held by each member of the caregiving dyad is an important factor for that member’s life satisfaction and well-being, while the partner’s perception of relationship quality is not. The findings highlight the importance of considering the individual perspective of both the person with dementia and the caregiver and enabling each to maintain positive perceptions of relationship quality. / ‘Improving the experience of Dementia and Enhancing Active Life: living well with dementia. The IDEAL study’ was funded jointly by the Economic and Social Research Council (UK) and the National Institute for Health Research (UK) through grant ES/L001853/2 ‘Improving the experience of dementia and enhancing active life: living well with dementia’

The most happening in today’s world is the issue of global warming and the Arab spring. They both are matters of concern and the term globalization explains their complication. A lot of aspects in this world are inter-connected, starting from events of climate change to events of the Arab spring they all require an international response. The happenings in the Arab spring have jeopardized the common values, mutual interests and the democratic values the world is building upon. It is a huge hit to the modern society with so many existing organizations, institutions and rule of law that are contradicting these events. In consideration with these events, this paper will concentrate on EU and its institutional capability in resolving the issues of Arab spring. Regardless, that these events have a global influence. EU’s response will be reflected considering its interests in the region and geo-political location. The interpretation will have emphasis on preliminary and present EU-Syria relations in co-ordination with theory and policy conditions. The theory used in this regard will be Liberal Intergovernmentalism (LI) and the policy conditions that would be referred to is Common Foreign and Security Policy (CFSP).

In this dissertation I argue that creativity should be understood as a situated and distributed process. As I develop my approach to understanding creativity over the course of this dissertation, three core claims emerge: 1) that the creative powers of particular agents are constituted within the concrete circumstances (both social and material) in which they are situated, 2) that the creative process itself unfolds across networks of associating actors, and 3) that these networks of associating actors include nonhumans of diverse sorts as active participants in the creative process. Understanding the creative process in this way distinguishes my approach from the ways in which creativity has traditionally been understood, which I argue are marked by a deep Cartesianism. This Cartesianism manifests itself in the way that creativity is predominantly studied and conceived of as a cognitive process that occurs within the minds of individuals. Because creativity is seen to occur within the minds of individuals, and because these minds are seen to function autonomously of their context, there is a resulting lack of attention to how the creative process is shaped by and extended out into the material and social environment. Furthermore, because creativity is understood to be solely a manifestation of human agency and human intentions, the active role of nonhumans in the creative process has not been taking into account. Drawing upon literature within feminist epistemology, cognitive science, science and technology studies, disability theory, and situated action theory, I argue that to better understand creativity, we must consider the creative process as it occurs within particular social and material environments, as it is distributed across diverse networks of actors, and as it is shaped in essential ways by nonhuman actors. It is only by considering creativity in its context, out in the world and in the interactions between things, that we can get an adequate understanding of the creative process. / Philosophy

I have explored spaces, where negotiations of border transgressions take place and where issues of technology and politics mingle. We meet a diversity of actors in the world of information technology (IT): political texts, people and technology participating in numerous sociomaterial relations. Time is the end of the 1990s and the beginning of the new millennium, 2000. Years, when IT occupied the western world and created its own fuzzy discourse. Years, when IT stole the biggest newspaper headlines and years, when IT became a mundane everyday part of our work practices. Years, when we learned to live in heterogeneous worlds. Actor-Network Theory (ANT) and Actor-Network Theory and After (ANTa) provide analytical and methodological perspectives when working with the empirical material. I present a chronological exposé of some of the key concepts of ANT and ANTa. I also discuss how the classical ANT perspective has changed during the last few years from being a theory of networks to become a methodological and analytical approach to other kinds of spaces such as fluid and fire. The heart of the thesis consists of six empirical cases. My aim of writing stories of information technology has been to investigate the black box of information technology. Investigating includes also efforts of opening. Concepts that are taken for granted, such as the very notion of information technology in my case, can be explored, questioned, transgressed, blurred and opened up. Each of the diffracted stories is specific and unique, with its own actors, context, location and situatedness. But the stories are also connected through ANT, and feminist technology and technoscience studies. Case number one, ‘Discourses and Cracks – A Case Study of Information Technology and Writing Women in a Regional Context ’, is about a project, where questions concerning discourses of information society with a special focus on citizenship are discussed and where global and national politics are translated to local and situated practices. Case number two, ‘Translating and Negotiating Information Technology ’, consists of two main parts. The fi rst one is about a regional library project. The analysis of the project is based on the classical Actor Network Theory (ANT) approach that invites the study of the heterogeneous and negotiable shaping of IT. The second part is about librarians developing web-based services. The analysis is inspired by the later development of ANT (called ANTa in the thesis) in order to include more invisible actors, relations and negotiations. Case number three, ‘Negotiating Information Technology: Politics and Practices of The Public Sector Web Production’, is about work practices of a municipal web developer, through which creation of sociotechnical relations of everyday information technology practices is analysed and also mirrored to national and local IT politics. Case number four, ‘Making e-Government Happen – Everyday Co-Development of Services, Citizenship and Technology’, is presenting the same web developer as in the third case, but now his everyday practices are connected with an expanded and wider circuit of co-constructors of information technology. The text is a co-production of a multidisciplinary research group aiming to describe, analyse and problematise connections when creating practices, where technology and society collaborate. Case number fi ve, ‘Citizenship at the Crossroads of Multiple Layers of Sociotechnical Relations’, enrols technology as an active actor in the construction of citizenship in an IT context in Sweden. The perspective emphasising the active agency of non-humans both enhances and challenges the Scandinavian approach of systems development by suggesting a direction towards a cyborgian approach towards technology design. Case number six, ‘Between Stability and Instability – a Project about e-Democracy ’, takes its point of departure from a small-scale project having as its goal the development of e-democracy in a municipal context. In the text the focus is on the stabilisation processes in shaping the technology (‘e’) and democracy parts of the project. I also discuss what kinds of spaces exist in between (the hyphen in e-democracy) and ask if integration between technology and democracy is possible as a whole. Finally, my intention is to step further into stories and practices not yet existing. Inspired by the French philosopher Michel Serres, I introduce the fi guration of an angel as a cartographer, intermediator and (co-) constructor of sociomaterial relations. Angels are needed to sew the separate fi elds of technology, politics and everyday practices to a rich seamless tapestry. They are the ‘artful integrators’ (Suchman).

Denna undersökning utgår ifrån Mary Jo Bitners servicescape-modell om hur fysiska miljöegenskaper formade efter en berättelse eller tema påverkar serviceverksamheter. För att sedan implementera modellen i en digital miljö. Resultatet av att nyttja teorierna kring servicescapes på exempelvis serviceverksamheter ger besökare möjlighet att fly undan vardagen, medvetet eller omedvetet, genom en kombination av olika sinnen. I undersökningen såg vi att besökarens självmedvetenhet kunde jämföras med Mihaly Csikszentmihalyis teorier om ”flöde”, där medvetandetillståndet hos en individ blir uppslukat av individens aktivitet. Ur denna jämförelse kunde förutsättningarna och kriterierna för ”flöde” nyttjas. Undersökningen påvisar att anpassning av servicescape i en digital miljö leder till en förlust av sinneskombinationer i jämförelse med fysiska servicescapes. Detta ändrar dock inte det faktum att besökaren upplever ett mervärde av platsen då tillämpning av servicescapes i skapandet av fysiska som digitala miljöer öppnar upp för besökare att inte bara bevittna respektive berättelse utan även delta i den. / This study is based on Mary Jo Bitner’s servicescape-model of the physical environment, shaped by a story or a certain theme, towards adapting the model into a digital environment. The result of applying the theories surrounding servicescapes to where a service process takes place, gives visitors an opportunity to escape from the everyday life, consciously or unconsciously, through a combination of the human senses. The study found that the effect, a lesser amount of self-awareness, could be compared with Mihaly Csikszentmihalyi’s theories of "flow", a mental state where an individual becomes fully immersed in the process of the activity. The conditions for "flow" could therefore be used as a foundation in the creation of “digital servicescapes”. The adaptation of servicescape towards a digital environment led to a loss of possible combinations of senses in comparison with physical servicescapes. Though this did not result in removing all the added value of adapting the servicescape-model into a digital environment, for it is still expanding the opportunity for visitors to interact with the story respectively, instead of being idle observers.

This paper explains how the Islamic State grew rapidly, answering a question of "what is" the Islamic State? A review of existing literature on simulation modeling of insurgencies identifies several gaps, as existing theories of non-state actors and insurgencies are inadequate to explain ISIS's performance. Additionally, there are few mathematical simulation models of insurgent behavior that can reproduce ISIS results. Finally, what models exist are not detailed enough either to conduct detailed experiments testing proposed explanations of ISIS, or evaluate policy responses aimed at containing or mitigating ISIS. The paper offers several contributions. First it proposes a dynamic hypothesis that the Islamic State (ISIS) is an emerging-state actor, a new form of actor that differs from traditional non- state actors and insurgencies. Propositions are constructed and presented as an overall theory of emerging-state actor behavior. These propositions are then simulated as experiments within a detailed model parameterized with conditions very similar to what ISIS faced in Iraq and Syria 2013. The model is then run from 2013-2020, and experiment results confirm evidence of emerging- state actor behavior and allow refinement of model boundary assumptions. Second, an initial set of intervention policies are tested in a variety of conditions: best case, operationally constrained, isolated, combined, and at different timing intervals. Analysis of the results yields key dynamic insights. These insights aid policy makers in understanding the challenges posed by emerging state actors. Finally, the detailed simulation model used to test the propositions and policy analysis, including a novel approach to combat simulation with endogenous geospatial feedback, is provided in full detail in two Appendices. Appendix A provides a sector-by-sector view of model structure and equations. Appendix B provides more discussion, analysis and sources used to develop model structure, establish parameter values and determine equations for the simulation. Due to length and other considerations, Appendix B is available only upon request. The detailed simulation model can be used to refine non-state actor theories (configured for insurgencies, emerging-state actors, or other scenarios). The model can be loaded with other scenarios to simulate other actors in other geospatial terrain: ISIS in Libya, Boko Haram in Nigeria, the returning Taliban in Afghanistan, etc. Keywords: ISIS, ISIL, DAESH, insurgency, conflict, security, stability, non-state actor, emerging- state actor, combat simulator, geospatial, national security.

This paper explains how the Islamic State grew rapidly, answering a question of "what is" the Islamic State? A review of existing literature on simulation modeling of insurgencies identifies several gaps, as existing theories of non-state actors and insurgencies are inadequate to explain ISIS's performance. Additionally, there are few mathematical simulation models of insurgent behavior that can reproduce ISIS results. Finally, what models exist are not detailed enough either to conduct detailed experiments testing proposed explanations of ISIS, or evaluate policy responses aimed at containing or mitigating ISIS. The paper offers several contributions. First it proposes a dynamic hypothesis that the Islamic State (ISIS) is an emerging-state actor, a new form of actor that differs from traditional non- state actors and insurgencies. Propositions are constructed and presented as an overall theory of emerging-state actor behavior. These propositions are then simulated as experiments within a detailed model parameterized with conditions very similar to what ISIS faced in Iraq and Syria 2013. The model is then run from 2013-2020, and experiment results confirm evidence of emerging- state actor behavior and allow refinement of model boundary assumptions. Second, an initial set of intervention policies are tested in a variety of conditions: best case, operationally constrained, isolated, combined, and at different timing intervals. Analysis of the results yields key dynamic insights. These insights aid policy makers in understanding the challenges posed by emerging state actors. Finally, the detailed simulation model used to test the propositions and policy analysis, including a novel approach to combat simulation with endogenous geospatial feedback, is provided in full detail in two Appendices. Appendix A provides a sector-by-sector view of model structure and equations. Appendix B provides more discussion, analysis and sources used to develop model structure, establish parameter values and determine equations for the simulation. Due to length and other considerations, Appendix B is available only upon request. The detailed simulation model can be used to refine non-state actor theories (configured for insurgencies, emerging-state actors, or other scenarios). The model can be loaded with other scenarios to simulate other actors in other geospatial terrain: ISIS in Libya, Boko Haram in Nigeria, the returning Taliban in Afghanistan, etc. Keywords: ISIS, ISIL, DAESH, insurgency, conflict, security, stability, non-state actor, emerging- state actor, combat simulator, geospatial, national security.

My artistic process as an actor is ever changing--always in flux and adjusting to the needs and dominant rhythms of the character and imaginary world of the play. While there may be some overlap, every role is different from the next role and therefore the artistic process serves to help the actor find a way into the life of the character. Actor training in movement, voice, and acting technique provides me with a variety of tools to choose from when developing a character for performance. My artistic process is the exploration and play that goes into picking and choosing which tools suit me best to approach the development of a character. It is my work to use these tools to discover the many connections and themes between the character and the imaginary world of the play as well as how they interact with each other. A significant part of this exploration is doing the character research to answer specific questions such as: Is my character's interaction with others mostly negative or positive? What want, need, or desire lures my character from the beginning of the play through to the end? What is my characters internal rhythm...heavy and lethargic or light and erratic? Moreover, the artistic process is crucial to giving me the freedom to release into the character so that I can successfully make the jump from playing at a character to truly embodying the character.

This paper investigates, through an actor-network theory perspective, how the recreation area Lövsta-Kyrkhamn-Riddersvik northwest of Stockholm has developed from being a dumping site into becoming a nature reserve. This investigation also tries to describe and explain which values that have been promoted in the area by the local voluntary associations and companies. Lövsta-Kyrkhamn-Riddersvik has been inhabited for more than 3000 years, originally with farming as the most important business. The area served as Stockholm’s waste disposal site from the late 1890’s and has today become an important area for recreational use. The actor- network theory perspective is used to identify different actors, both human and non-human, that has worked for the protection of the area and thus gained power over the decision-making.