Denna studie har som syfte att undersöka bänkrummets betydelse för vidmakthållandet av hierarkier och status i 1700-talets Falun. Materialet som används för att uppfylla detta syfte består främst av kyrkorådsprotokoll ifrån Kristine församling i Falun mellan 1744-1784. Utöver dessa kyrkorådsprotokoll används stundtals biografier för att kunna ge en djupare bild av vissa individer. Resultatet visar att det under den undersökta perioden råder en strikt uppdelning av kyrko-rummet. Det mest uppenbara är uppdelningen mellan kvinnor och män. Uppdelningen av kyr-korummet följer emellertid inte bara könstillhörighet utan även ett mönster för över- och un-derordning. Inflytelserika personer satt långt fram i kyrkan och detta gällde både på manssi-dan som kvinnosidan i kyrkan. Ju längre bak i kyrkan man satt desto lägre social status hade man. Att sitta utmed en vägg verkar inte heller ha varit förknippat med hög status i Falun. Bänkplaceringen i kyrkan blev ett sätt att upprätthålla skillnad mellan människor, dock inte helt utan utmaningar och undantag.

Arbetet behandlar takstolar från 1500-, 1600- och 1700-tal i barockstil. Syftet är att undersöka och analysera barocktakstolar samt bidra till en ökad kunskap inom området. Målet är att presentera byggnadsteknisk information om barocktakstolar i Sverige, att presentera en jämförelse mellan svenska barocktakstolar och att presentera en byggnadsteknisk dokumentation av barocktakstolen i Kalmar Rådhus. Undersökningens metoder bestod av litteraturstudie, dokumentstudie, en analysmodell för historiska takkonstruktioner, en byggnadsundersökning och uppmätning med laserskanning samt en framtagning av geometrimodell och beräkningsunderlag. Resultatet av arbetet visar en ökad kunskap om hur barocktakstolar i Sverige är konstruerade, att det finns karakteristiska drag mellan både svenska takkonstruktioner såväl som mellan svenska och europeiska. / This thesis treat roof trusses from the 16th, 17th and 18th centuries in Baroque style. The purpose is to investigate and analyze baroque roof trusses and to contribute to an increased knowledge in this field. The aim is to present a survey and building technical information of baroque roof trusses in Sweden, to present a comparison between Swedish baroque roof trusses and to present a building technical documentation of the baroque roof truss in the City Hall of Kalmar. The research methods consisted of a literature study, document study, an analysis model for historical roof constructions, a building survey and measurement with laser scanning as well as a development of a geometry model and calculation basis. The result of this work shows an increased knowledge of how baroque roof trusses in Sweden are designed, that there are characteristic features between both Swedish roof constructions as well as between Swedish and European.

Both theatre and drama were imported to Canada from European colonizing nations, and as such the canonical master-texts of European drama, particularly the works of Shakespeare, have always occupied a prominent place in Canadian theatre. This presents a challenge for living Canadian playwrights, whose most revered role model is also their most dangerous competition, and whose desire to represent the spectrum of contemporary Canadian experience on stage is often at odds with the preferences of many producers and spectators for the “classics.” Since the 1990s, a number of Canadian playwrights have attempted to challenge the role of canonical plays and the values they represent by appropriating and critiquing them in plays of their own, creating a body of work which disturbs conventional distinctions between “adaptations” and “originals.” This study describes and analyzes the adaptive dramaturgies used by recent Canadian playwrights to appropriate canonical plays, question the privileged place they occupy in Canadian culture, expose the exclusionary hierarchies they legitimate, and claim centre stage for Canadian perspectives which have hitherto been waiting in the wings. It examines how playwrights challenge, usurp, or exploit the cultural capital of the canon by “re-citing” old plays in new works, how they or their producers attempt to frame the reception of their plays in order to address cultural biases against adaptation, and how audiences respond. This study draws from and builds upon contemporary theories of adaptation and particularly (Canadian) Shakespeare adaptation, seeking an understanding of adaptation based on the motives, tactics, and efficacy of adaptation. Simultaneously, it challenges the dominance of “Shakespeare,” in critical as well as theatrical practice, by comparing appropriations of Shakespeare to appropriations of Chekhov which exhibit similar tactics and motives.

Both theatre and drama were imported to Canada from European colonizing nations, and as such the canonical master-texts of European drama, particularly the works of Shakespeare, have always occupied a prominent place in Canadian theatre. This presents a challenge for living Canadian playwrights, whose most revered role model is also their most dangerous competition, and whose desire to represent the spectrum of contemporary Canadian experience on stage is often at odds with the preferences of many producers and spectators for the “classics.” Since the 1990s, a number of Canadian playwrights have attempted to challenge the role of canonical plays and the values they represent by appropriating and critiquing them in plays of their own, creating a body of work which disturbs conventional distinctions between “adaptations” and “originals.” This study describes and analyzes the adaptive dramaturgies used by recent Canadian playwrights to appropriate canonical plays, question the privileged place they occupy in Canadian culture, expose the exclusionary hierarchies they legitimate, and claim centre stage for Canadian perspectives which have hitherto been waiting in the wings. It examines how playwrights challenge, usurp, or exploit the cultural capital of the canon by “re-citing” old plays in new works, how they or their producers attempt to frame the reception of their plays in order to address cultural biases against adaptation, and how audiences respond. This study draws from and builds upon contemporary theories of adaptation and particularly (Canadian) Shakespeare adaptation, seeking an understanding of adaptation based on the motives, tactics, and efficacy of adaptation. Simultaneously, it challenges the dominance of “Shakespeare,” in critical as well as theatrical practice, by comparing appropriations of Shakespeare to appropriations of Chekhov which exhibit similar tactics and motives.