This thesis investigates the cultural uses and implied signifying practices of the work of actors who are popularly and frequently described as 'Shakespearean.' Though ubiquitous figures within culture, there is a dearth of criticism which questions what qualities are invoked in the use of the term ‘Shakespearean’ and what implicit judgements of value or taste, class or cultural function are at work in its attribution. Although works such as Carol Chillington Rutter’s Clamorous Voices have analysed the figure of the female Shakespearean, moreover, the male Shakespearean remains largely an unexplored site of meaning and definition. It is this focus on the body of the actor which represents my original contribution to knowledge. Indeed, despite the preponderance of actor-based studies in Film Studies or, indeed, Theatre Studies, Adaptation Studies has been slow to locate the body as an adaptive site; concentrating instead upon themes, authors, the work of directors or, more recently, the influence of production factors. My thesis argues for the Shakespearean actor as a site of adaptation, positing it as a conduit for the transferable commdity value which is ‘Shakespeare’ and thereby considering the differences which may occur in the production of meaning as the Shakespearean actor moves between cultural hierarchies: from ‘high’ to ‘low’, or mainstream culture. An essential part of this thesis and an aspect which further argues for its contribution to this field is, therefore, analysis of popular cultural texts which have largely been ignored by adaptation critics. Although figures such as Richard Burt have recognised the value of popular or counter-cultural texts for an understanding of Shakespeare’s far-reaching and often surprising influence, the more tangential work in the Shakespearean actor’s filmography provide equally valuable ground to mine. An understanding of a Shakespearean actor’s cultural function is thus served by critiquing their mainstream films as well as their more documented Shakespearean oeuvre. By focusing on the implicitly multidirectional possibilities of adaptation as a process, I explore what values the ‘Shakespearean’ holds in contemporary culture and whether these maintain a popular perception of the Shakespearean actor as a representative of conservatism, elitism and ‘high’ culture. Or, whether the Shakespearean actor contains the potential for subverting some of the associations which Shakespeare’s legacy has accrued over time.

Malgré des accidents réguliers, la moyenne montagne n’occupe qu’une place mineure dans l’étude des avalanches. Cette thèse vise donc, par une approche interdisciplinaire, à analyser la réalité du risque d’avalanche dans le Massif vosgien. Considérant le risque comme un construit social, on se propose d’appréhender les cultures du risque d’avalanche, puis d’étudier sa réalité matérielle (approche diachronique, spatialisation, conditions d’occurrence et d’émergence du risque).Pour déterminer s’il existe reconnaissance et appropriation du risque d’avalanche par les acteurs participant au processus de construction du risque, on a procédé à une analyse de discours des différents acteurs intervenant dans sa gestion et à des enquêtes, l’une inductive par entretiens, l’autre par questionnaire. In fine, d’une manière générale, connaissances et mémoire collective font défaut et, quelle que soit l’échelle, le risque d’avalanche n’est pas identifié en tant que problème. Il est au mieux désigné comme un danger ponctuel et localisé auquel on se sent peu vulnérable. Parallèlement, à travers une démarche géohistorique, on a étudié l’inscription spatiale et temporelle des avalanches sur les deux derniers siècles et cherché à identifier les facteurs naturels et sociaux interagissant dans le système de production du risque. Il apparait que, si la connaissance des avalanches est dépendante des sources, leur dynamique est fortement conditionnée par les activités anthropiques passées et actuelles. Malgré la fréquence des avalanches, ce risque n’apparait pas comme un élément fondamental des cultures montagne dans le Massif vosgien et nécessite un travail d’information et de sensibilisation. / In spite of regular accidents, the medium-high mountain doesn’t seem to play a major role in the study of avalanche. Therefore, the main goal of this thesis is to emphasize the reality of the avalanche risk in the Vosges Mountains by an interdisciplinary approach. Considering risk itself as a social construction, we suggest to study at first the cultures of avalanche risk and then pursue with its material reality (diachronic approach, spatialization, risk occurrence and conditions of emergence). So as to establish if the different protagonists involved in the process of risk construction recognize and appropriate the avalanche risk, we have analyzed the statements of the persons in charge of those events and conducted two different surveys (inductive interviews and a questionnaire). In the end, there is a lack of knowledge and collective memory, and the risk of avalanche seems not to be considered and identified as a real problem. At the very best, it is pointed out as an occasional and localized danger, to which people do not really feel vulnerable.At the same time, through a geo-historical approach, we studied the spatial and temporal distribution of avalanches over the last two centuries and tried to identify the natural and social factors interacting in the risk production system. It appears that, if knowledge concerning avalanches is based on historical sources, their dynamic is strongly conditioned by past and current human activities. Despite the frequency of avalanches, this risk does not appear as a fundamental element of the mountain cultures in the Vosges range and requires measures to draw the attention of people and inform them about it.