The work of Shakespeare has been popular to make film adaptations of from the birth of cinema. Macbeth, one of his most often played tragedies, is no exception. But how did Shakespeare portray Lady Macbeth in his play, and how do directors in the 21th century choose to portray her for a modern audience? I will try to find the answer to these questions by analyzing Shakespeare´s play as well as three modern adaptations. I will begin the thesis by looking at scholars´ view in questions regarding gender, free will, adaptations and genre before analyzing the play and the three movies. I will do this so in order to make comparisons between the play and the three adaptations. My conclusion is that Shakespeare wrote Lady Macbeth as a strong woman, an “unwomanly” woman of her time. The three adaptations also portray her as a strong woman, but in three different ways. I cannot draw any overall conclusions as this thesis is a subjective interpretation of text as well as picture, but further analysis of more adaptations of Macbeth can perhaps verify what has been stated in this thesis.

Abstract The purpose of this work is to try to find out how young people's reading habits among students look at different types of secondary school, ie. both theoretical and practical, and what factors might encourage them to read more. My questions have been; do young people read today? Is there any difference between city, gender or program? What can a teacher do to inspire young people to read more?   I have made a questionnaire survey among different students at two different high schools in Skaraborg. The first school is a high school located in a medium sized town, where I made inquiries to the scientific program, social program, Business and Administration Program and the Electricity Program. The other school is Gymnasium 2 in a slightly smaller town, where I have given the questionnaires to the natural and apprenticeship program, children and Recreation program and electricity, vehicles and Handicraft program. No failure has occurred in addition to those students who were not in place at the distribution of the questionnaire. When you look at the results of all students from both schools, the majority reads and only a few do not read. The genre that is most popular among high school youth are fantasy and motivation to read are good books and because it is fun. The high school students that don't read is because they do not have time to read and that they would start to read if they got a good book. Tips for teachers who is given the most are the students should be allowed to choose books themselves. / Sammanfattning Syftet med detta arbete är att försöka ta reda på hur ungdomars läsvanor ser ut bland elever på olika typer av gymnasieprogram, dvs. både teoretiska och praktiska, samt vilka faktorer som kan stimulera dem till att läsa mera. Mina frågeställningar har varit; läser ungdomar idag? Finns det någon skillnad mellan stad, kön, program eller ålder? Vad kan man som lärare göra för att inspirera ungdomar till att läsa mer?   Jag har gjort en enkät undersökning bland olika elever på två olika gymnasieskolor i Skaraborg. Den första skolan är Gymnasium 1 som ligger i en medelstor stad, där jag gett enkäter till naturvetenskapligaprogrammet, samhällsvetenskapligaprogrammet, Handels- och administrationsprogrammet och elprogrammet. Den andra skolan är Gymnasium 2 i en något mindre stad, där har jag gett enkäter till natur- och lärlingsprogrammet, barn- och fritidsprogrammet och el-, fordon- och hantverksprogrammet. Inga bortfall har förekommit förutom de elever som inte varit på plats vid utdelning av enkäten.   När man tittar på resultatet på alla elever från båda skolorna, så läser de flesta och endast några få läser inte. Genren som är populärast bland gymnasieungdomarna är fantasy och motivationen till att läsa är bra böcker och för att det är roligt. Att gymnasieungdomarna inte läser beror på att de inte har tid att läsa och att de skulle börja läsa om de fick en bra bok. Tips till lärare som flest har gett är eleverna ska få välja böcker själva.

Texte remanié de la thèse de Ph.D., Leiden, 1991. / Notes bibliogr. Bibliogr. p. [447]-463. Index.

On the eve of 1920, the U.S. recording industry had been through a number of near-fatal economic downturns since its precarious emergence in the 1890s, and yet stood on the verge of its most influential decade to date. Already in its short history, the recording industry had nearly ceased to exist in the 1890s, saved itself by transforming the phonograph from office machine to nickel-in-the-slot novelty, survived the first of many format wars to come, and reinvented itself by introducing the phonograph into American homes. During the 1920s and 1930s, the recording industry participated in creating genre categories and identifying audiences for music that had previously gone unrecorded. By concentrating on both industry giants (Victor, Columbia) and smaller labels that were key to industry trends (Gennett, Paramount, Okeh), this dissertation's working hypothesis is that a new mode of production in the recording industry between the world wars -- based both on previous business strategies and new market conditions -- allowed a few large corporations to develop into a highly organized industry. This relationship between genre (understood as a configuration of social, cultural, ideological, and aesthetic beliefs) and mode of production (in its most concrete sense, how a given company operates) has continued to be an important one to the record industry, because with each new genre and sub-genre the industry has the potential to connect with underserved or unrecognized audiences. By combining industrial history with cultural analysis, this dissertation analyzes institutional cultures at various record companies and the contributions of musicians and various cultural intermediaries who helped shape U. S. popular music beginning in the early twentieth century. The central questions to which I continually return are: How did the consolidation of the recording industry into distinct company cultures shape the records that were made? What role did these cultures play in the shaping of genres, in terms of both creative control and technological formats? And finally, how do these various aspects interrelate in the context of the recording industry -- both as an industry involved in manufacturing culture and reflecting its own participation as a cultural institution? / text

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Genre and domain influence an author\'s style of writing and therefore a text\'s characteristics. Natural language processing is prone to such variations in textual characteristics: it is said to be genre and domain dependent. This thesis investigates genre and domain dependencies in sentiment analysis. Its goal is to support the development of robust sentiment analysis approaches that work well and in a predictable manner under different conditions, i.e. for different genres and domains. Initially, we show that a prototypical approach to sentiment analysis -- viz. a supervised machine learning model based on word n-gram features -- performs differently on gold standards that originate from differing genres and domains, but performs similarly on gold standards that originate from resembling genres and domains. We show that these gold standards differ in certain textual characteristics, viz. their domain complexity. We find a strong linear relation between our approach\'s accuracy on a particular gold standard and its domain complexity, which we then use to estimate our approach\'s accuracy. Subsequently, we use certain textual characteristics -- viz. domain complexity, domain similarity, and readability -- in a variety of applications. Domain complexity and domain similarity measures are used to determine parameter settings in two tasks. Domain complexity guides us in model selection for in-domain polarity classification, viz. in decisions regarding word n-gram model order and word n-gram feature selection. Domain complexity and domain similarity guide us in domain adaptation. We propose a novel domain adaptation scheme and apply it to cross-domain polarity classification in semi- and unsupervised domain adaptation scenarios. Readability is used for feature engineering. We propose to adopt readability gradings, readability indicators as well as word and syntax distributions as features for subjectivity classification. Moreover, we generalize a framework for modeling and representing negation in machine learning-based sentiment analysis. This framework is applied to in-domain and cross-domain polarity classification. We investigate the relation between implicit and explicit negation modeling, the influence of negation scope detection methods, and the efficiency of the framework in different domains. Finally, we carry out a case study in which we transfer the core methods of our thesis -- viz. domain complexity-based accuracy estimation, domain complexity-based model selection, and negation modeling -- to a gold standard that originates from a genre and domain hitherto not used in this thesis.

Présenté à l'origine comme thèse de doctorat de l'auteur à l'université de Montréal en 1991. / Titre de l'écran-titre (visionné le 19 mai 2009). Bibliogr.

Texte de: Th. 3e cycle--Litt. comparée--Paris 4, 1980. / Bibliogr. pp. 184-194. Index.

Texte remanié de: Ph. D.--Princeton University, 1986.

Thesis (Ph. D.)--University of Pennsylvania, 1902. / Bibliography: p. 60-70.