Gulliver's Travels, by Jonathan Swift, has captured readers' imaginations for almost three hundred years, spawning countless adaptations over several different mediums. As different means of communicating and transforming art have been invented, these adaptations have grown to fill the new mediums and make use of the various possibilities each form has created. Film in particular has created an enormous opportunity to re-imagine Gulliver's Travels, since it can directly show the audience the fictional foreign locations in which Gulliver finds himself. In this study, I examine seven screen adaptations of Swift's novel to determine what our current culture views as the core of the work, or what we see as the important pieces to pass on to current and future audiences. The seven chosen adaptations were selected based on how well they have survived over the last century; adaptations which are no longer available for commercial purchase and/or viewing were excluded from the study. I have also only included works which maintain a resemblance to the original story in structure, even if merely loosely, and have excluded works which bear only a thematic tie; I based my choices on the works which make an overt claim to be interpretations of the original text. This study examines only the works which seek to directly represent the original novel. By looking at Swift's work through the lens of adaptation, this study will show how Swift's work is currently perceived, and examines what that may mean for the future of Swift's legacy. As cultural views and connotations of language have changed, the directors of the adaptations have used different means to achieve sometimes similar, sometimes different messages. Gulliver's Travels was originally a satiric work that addressed social problems of eighteenth-century England. Popular views on society have changed, however, as have the politicians holding office. Certain events in Gulliver's Travels, such as the reading of Gulliver's offences in Lilliput, no longer have nearly the same relevance. Therefore, it is important to examine how the directors address these changes to determine what will retain relevance over time.

The topic of this artistic research project is the musical performance method where a solo singer conducts an orchestra while singing. The aim is to shine a light on the effect this performance practice has on the quality of the performance; if it hampers the singer’s ability to interpret the lyrics and make theatrical gestures or if the musical performance can possibly benefit from having one person singing and conducting. The core of the project is a concert in Reykjavík organised by this author where she performed as solo soprano and conductor with a chamber orchestra. The research was made from her personal perspective, while the views of instrumentalists also played a significant role. The author observed the internationally renowned soprano and conductor Barbara Hannigan as she rehearsed and performed a concert with the Iceland Symphony Orchestra (ISO) at the Reykjavík Arts Festival. For this project the writer enjoyed the cooperation of three composers whom she commissioned to write pieces especially for her to sing and conduct, and together with Zerbinetta's grand aria by Richard Strauss this music was premiered by her and a chamber orchestra at her concert in Eldborg, Harpa at the Reykjavík Opera Days on November 5th, 2022. / <p>Soprano takes the baton!</p><p>In Eldborg, Harpa on November 5th, 2022 at the Reykjavík Opera Days festival finale.</p><p>Ragnheiður Ingunn Jóhannsdóttir, soprano and conductor.</p><p>Program:</p><p>Jóhann G. Jóhannsson: Be not afeard – Concerto for Coloratura Soprano and Chamber Ensemble (2022), premiere </p><p>Lyrics: William Shakespeare (Caliban’s Speech from The Tempest)</p><p>I: Be not afeard - lyrics: William Shakespeare</p><p>II: Ekkert að hræðast - translation: Helgi Hálfdanarson</p><p>III: Var icke rädd - translation: Carl August Hagberg</p><p>—</p><p>Ingibjörg Ýr Skarphéðinsdóttir: Fasaskipti (2022), premiere</p><p>Poem: Þórdís Helgadóttir</p><p>—</p><p>María Huld Markan Sigfúsdóttir: Djúpalón (2022), premiere</p><p>Poem: Þóra Hjörleifsdóttir</p><p>—</p><p>Richard Strauss: Großmächtige Prinzessin (1912), Zerbinetta’s aria from Ariadne auf Naxos</p><p>Lyrics: Hugo von Hofmannsthal</p><p></p><p>Chamber orchestra:</p><p>Rannveig Marta Sarc (violin), Gunnhildur Daðadóttir (violin), Anna Elísabet Sigurðardóttir (viola), Guðný Jónasdóttir (cello), Xun Yang (double bass), Kristín Ýr Jónsdóttir (flute), Julia Hantschel (oboe), Birkir Örn Hafsteinsson ((clarinet), Bryndís Þórsdóttir (bassoon), Stefán Jón Bernharðsson (horn), Helga Bryndís Magnúsdóttir (piano) &amp; Helgi Þorleiksson (percussion)</p><p>Recording: Stúdíó Sýrland </p><p></p><p>The concert was sponsored by:</p><p>Óperudagar – The Reykjavík Opera Days.</p><p>Tónlistarsjóður – “Music Fund” (Iceland Ministry of Culture).</p><p>Hljóðritasjóður – “Music Recording Fund” (Iceland Ministry of Culture).</p><p>Tónskáldasjóður RÚV og STEFs – “Composers’ Fund” </p>

This essay contains a discussion of my influences for making the choreographic work The Horrors of:, which was the practical part of an examination for the degree work of the bachelor’s Programme in Dance Performance at Stockholms Konstnärliga Högskola in the fall of 2022. The horrors of: is an exploration of women in horror and the potentiality of the monstrous feminine. Inspired by Julia Kristeva’s concept of abjection, Barbara Creed’s concept of the monstrous-feminine as well as films in the body horror genre, a search to represent the subjectivity of the women depicted in horror through dance emerged. In the body horror genre, the female characters are neither villains nor heroes, but complex characters who possess the capacity to both do good and destroy.    The text is divided in two parts: The first part dissects how the process was generated from researching the topics of femininity and abjection into a staged choreographic work and the second part contains a collage of poems along with other material collected from the artistic research process.

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Planning and design of stormwater facilities (including best management practices and low impact development) involve the calculation of peak flows and runoff volumes. Rainfall-runoff models are frequently utilized to estimate this information. A userriendly rainfall-runoff tool (LIDIA) was developed using Visual Basic for Applications in Microsoft Office Excel. This research showed comprehensive guidelines on how to setup a model in LIDIA and reported the first evaluation of LIDIA using field data. LIDIA hydrologic module was tested using 10-minute rainfall, land cover, soil series, land cover management, and runoff data from two small watersheds in North Mississippi. Eleven storm events, over a period of seven months were used for the one evaluation site and 11 storm events were used for the second case study. Overall the development and results of LIDIA tool showed in this study are positive in keeping the enhancement of the model.

In this dissertation I attempt an evaluation of Barbara Pym as a feminist writer. I study the central protagonists in Pym's twelve novels in the context of British society in the 1950s, 1960s and 1970s. I have drawn on feminist critical paradigms in my reading of Pym's novels in order to highlight my insights into her women characters. Chapter One examines Pym 's use of comedy and subversion in relation to her main protagonists. Chapter Two explores the 'Excellent Woman' figure in Pym's fiction and the issue of spinsterhood. Chapter Three scrutinises Pym's use of satire and tragedy in relation to her heroines. Chapter Four investigates the emergence of the 'fallen' and 'formidable' women figures in Pym's novels, and analyses the ageing spinster figure. My conclusion is that Barbara Pym is a humanist feminist of some importance, who succeeds in illuminating her heroines' struggles against patriarchy in the context of a changing British society. / English Studies / M.A. (English)

Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Technology in Fine Art, Durban University of Technology, 2011. / The crux of my thesis is the study of the relationship of script and image in the work of contemporary arts. I chose to focus on three selected artists, i.e. myself, Celeste van der Merwe, a local South African male artist named Willem Boshoff and an international female artist, Barbara Kruger. My intention was to write a readable self-study thesis that would be both informative and educational while simultaneously appealing to the heart of the reader. In order to realise this intention, I focussed on how the above-mentioned artists used script and image to address social issues prevalent in society today. I also made social statements through the medium of my art based on the familiar allegory, Little Red Riding Hood. My aim has been to address the breakdown of the family structure by focussing on the suffering of teenagers as a result of dysfunctional family structures and behaviours. I explored the powerful and provocative manner in which Barbara Kruger effectively wields the combination of script and image in her work. Boshoff on the other hand is a South African linguist who incorporates script in a variety of disciplines such as installations, visual poetry, concrete poetry, sculpture. In my own art I deconstructed and transformed materials and found that the process of breaking down and rebuilding reflected the breakdown and restoration in/of the lives of children. By consciously investigating my practice as a creative artist using script and image I have gained a better understanding of myself and I believe I am now able to improve my practise. Through this self-study research I have grown in self-discovery and self-actualization as an artist and have developed as a researcher. Finally, I concluded that the relationship between script and image is open-ended, not conclusive and differs in each work of art. / Durban University of Technology Research Management Office. / M

Barbara Garson’s controversial play, MacBird!, was written and produced during the Vietnam War era and Johnson administration. The satirical Shakespeare adaptation equates LBJ with Macbeth, the villainous tragic hero who murders his king in order to gain the Scottish crown. The implication that Johnson was responsible for the assassination of JFK created a fury of controversy among critics and the public, as well as the political leaders who were parodied. The play was first published and circulated in 1966 as an underground leaflet. In 1967, it was produced off-Broadway with a cast that featured actors Rue McClanahan, William Devane, Cleavon Little, and Stacy Keach, who won an Obie Award for his performance of the title role. The show launched the careers of these actors. Critics were divided in their reviews of the play’s literary merit, but all seemed to agree that the piece was shocking and significant because it flew in the face of patriotism and of reverence for presidential authority. At the time of its production, acclaimed theater critic Robert Brustein named MacBird! “the most explosive play” of the Sixties theater movement. This dissertation presents the history of the play, within its social and political setting, from its inception through its production and abrupt disappearance at the peak of its success, which coincided with the assassination of Robert Kennedy. Relying upon methodology that includes primary and secondary sources, as well as interviews with the playwright and others involved in the play, this work presents the publication and production history of MacBird!, public and White House response to the play, a contextual analysis under a feminist lens, and a final chapter on MacBird! as a precursor to feminist adaptations of canonical works, Sixties-era Macbeth adaptations, and the notable women whose work intersected in MacBird! MacBird! was a tremendous event in theater history; it belongs at the fore of adaptation studies, particularly Shakespeare and feminist adaptation studies; it is a prime model of performance as a political tool and therefore earns a central place in performance studies; and because it is an attack on patriarchal power and a rare example of a Sixties radical play written by a woman, Barbara Garson needs to be recognized among remarkable women of theater. / text

The feeling of a narcotic cannot be put to words, just as the sensation one receives from her or his favorite artwork is impossible to record. Equally, both these delicacies of modern existence must be sought out. The user/viewer only gets a tiny taste and must therefore keep coming back for more. Utopia may be an unrealistic construction of culture, but I would posit the idea the both narcotics and art strive to give us just that – however tiny a taste. This paper addresses the intersections of visual art, drugs, anti-hero worship and contemporary representations of Romanticism throughout the American body politic.

This dissertation argues that philosophers Barbara Forrest and Robert T. Pennock fail to discredit William A. Dembski's Design Inference as a legitimate scientific program. Chapter 1 is the introduction, explaining the problem and the research methodology used in the dissertation to ascertain a conclusion. Chapter 2 is a background survey and analysis of contemporary Intelligent Design (ID) theory and Dembski's part within the overall schemata of the Intelligent Design enterprise. Particular aspects of Dembski's Design Inference framework and its corresponding "explanatory filter" are explained in Chapter 3. Both Forrest and Pennock had significant influence on the judge's final opinion in the Kitzmiller v. Dover trial, which brought serious scrutiny against ID's scientific merit. Criticism against Dembski was an important part of Forrest and Pennock's respective expert testimony against ID. Based on this trial testimony and their respective academic writings, Chapter 4 therefore argues for the legitimacy of Forrest and Pennock as influential critics when considering Dembski's scientific relevance. The chapter also surveys their substantive arguments against Dembski. Dembski's own response to the categorical criticisms by Forrest and Pennock are addressed in Chapter 5. The concluding analysis is in Chapter 6, arguing that Dembski's Design Inference maintains as viable science, despite the critiques by Forrest and Pennock. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.