No description available.

No description available.

William Shakespeare es, sin lugar a dudas, uno de los dramaturgos más brillantes y más representados del teatro universal. Su obra es ampliamente reconocida y considerada en la literatura y las artes escénicas por la riqueza temática que guarda y las múltiples posibilidades interpretativas que alberga, según el punto de vista de cada director. El reto de montar un Shakespeare no es sencillo, pues hay que combatir cierta resistencia del público hacia los llamados autores clásicos. El hecho de pretender acercar a Shakespeare al espectador de hoy conlleva siempre riesgos. Muchas veces se pretende actualizar a Shakespeare empleando recursos escénicos modernos, como vestuario, escenografia, modismos al hablar, etcétera. Pero sólo se consigue una modernización artificial que no cumple con la misión de revelar la verdadera esencia de la obra. La pieza, entonces, se puede convertir en el mejor de los casos, en una buena crónica moderna pero su temática pasará desapercibida, descontextualizada. Ante el problema de la modernización superficial, surge la invitación a realizar el montaje shakespeareano bajo la perspectiva de una verdadera contemporaneidad, la cual buscará compenetrar la temática de la obra con el contexto social del público. La coincidencia se vuelve un resultado feliz cuando el público encuentra en escena una problemática en la cual se reconoce y se identifica.

This paper presents a detailed comparative analysis of four important settings of Ophelia's song texts from Shakespeare's Hamlet composed by Brahms, Strauss, Chausson, and Pasatieri. Each of the first three represents a different facet of song composition during the period 1873-1919. The "Five Songs of Ophelia" by Brahms recall the simplicity of Volkslied. Strauss's "Drei Lieder der Ophelia" assume a more complex and formal demeanor, while Chausson's setting, "Chanson d'Ophelie," demonstrates French preoccupation with setting the natural speech rhythms of language. Pasatieri's "Ophelia's Lament," from 1975, uses operatic gestures within the context of piano-accompanied song. An interview with Pasatieri which defines this song as monodrama is transcribed in the appendix.

This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event.

Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...

<p>Following paper deals with the questions about prehistorian and medieval settlements in the Mälar Valley and their relations to the historically known hamlets or single farmsteads from the 17^th- and 18^th-century cadastral maps. Models over settlement development through the period A.D 200 to 1700 done by geographers Ulf Sporrong and Dan Carlsson are tested and compared to the knowledge won by recent archaeological excavations. Is there a connection between the older settlements linked together by dry-stone walls and the late Iron Age settlements? Does the picture differ from the one presented for the Gotland region? How well are the general theories about different settlement development depending on basic natural conditions as for the potentials for cultivation and topography, corresponding to the physical remains?  Are there other factors involved when the settlement structure takes its form?</p><p>The methods that are used here constitutes mainly of a comparison between different locations in the Mälar Valley that has got a well known prehistory thanks to extensive archaeological excavations. Cadastral maps, soilmaps, topography maps and maps over ancient monuments are intertwined to the same map and analyzed through works in Geographical information systems.</p><p>The results of this study reveal an interesting suspicion in the continuity-question through the Iron Age. Certain settlements seem to be more stable than what was earlier assumed in the general models. This occurrence of continuous use of sites must also be seen in a spatial context and not only a pattern formed by randomly chosen locations. The research has shown that it may be connected to the local political power in the Iron Age community. Related to this are also the different settlement forms where more than one unit occurs on a site. Concerning the different natural landscapes both disparities and similarities are found when it comes to the development that precedes the given situation on the cadastral maps. The conclusion is that the recent archaeological excavations definitely have shown us a more complex situation than what was once outlined in the early years of landscape archaeology.</p>

This study examines landscape change in the Province of Jämtland during c. 1000–1750 AD. Settlement and arable cultivation are two of the most important sources in this study. They are therefore treated in depth, particularly farmsteads that were deserted during the late medieval agrarian crisis, so-called ödesbölen, and their fossil field-traces. The dissertation contains four major investigations. In the first investigation 610 possible ödesbölen were identified. The desertion was estimated at 50 per cent. The second investigation had its focus on the geographic location, and the conclusion was that the ödesbölen may have been deserted when the climate turned colder in the 14th century. The third investigation concerned medieval agriculture. Using historical maps and detailed mapping of fossil field traces it was established that the annually cultivated acreage decreased from the High Middle Ages until early modern times. This probably means that the agrarian crisis caused a change in the agrarian regime, from predominant arable farming to predominant stock-raising. The fourth investigation was whether the ownership or the use of the ödesbölen created obstacles to recolonization when the crisis subsided. This turned out not to be so in the case of ownership, but may have been so with regard to communal forest grazing. According to historical maps the ödesbölen in Jämtland were finally recolonized about 200 years later than for example in southern Sweden. The reasons probably were wars and a worse climate. The dissertation is capped off with both a model and a description of landscape change in Jämtland. Characteristic for the development of the landscape has been fluctuations in settlement. The ödesbölen are part of a pattern in which they are colonized, deserted, recolonized and again deserted in a cyclical course of events. The openness of the landscape is not part of this course of events.

Following paper deals with the questions about prehistorian and medieval settlements in the Mälar Valley and their relations to the historically known hamlets or single farmsteads from the 17th- and 18th-century cadastral maps. Models over settlement development through the period A.D 200 to 1700 done by geographers Ulf Sporrong and Dan Carlsson are tested and compared to the knowledge won by recent archaeological excavations. Is there a connection between the older settlements linked together by dry-stone walls and the late Iron Age settlements? Does the picture differ from the one presented for the Gotland region? How well are the general theories about different settlement development depending on basic natural conditions as for the potentials for cultivation and topography, corresponding to the physical remains?  Are there other factors involved when the settlement structure takes its form? The methods that are used here constitutes mainly of a comparison between different locations in the Mälar Valley that has got a well known prehistory thanks to extensive archaeological excavations. Cadastral maps, soilmaps, topography maps and maps over ancient monuments are intertwined to the same map and analyzed through works in Geographical information systems. The results of this study reveal an interesting suspicion in the continuity-question through the Iron Age. Certain settlements seem to be more stable than what was earlier assumed in the general models. This occurrence of continuous use of sites must also be seen in a spatial context and not only a pattern formed by randomly chosen locations. The research has shown that it may be connected to the local political power in the Iron Age community. Related to this are also the different settlement forms where more than one unit occurs on a site. Concerning the different natural landscapes both disparities and similarities are found when it comes to the development that precedes the given situation on the cadastral maps. The conclusion is that the recent archaeological excavations definitely have shown us a more complex situation than what was once outlined in the early years of landscape archaeology.

Exploring the process of designing, producing, directing and starring in a multimedia feminist re-interpretation of Shakespeare's Hamlet set in a contemporary social media landscape.