Spectres of Shakespeare:Ong Keng Sen’s Search: Hamlet and the Intercultural Myth

Arguably, the myth of Shakespeare is a myth of universality. Much has been written about the dramatic, thematic and ‘humanistic’ transference of Shakespeare’s works: their permeability, transcendence of cultures and histories, geographies and temporalities. Located within this debate is a belief that this universality, among other dominating factors, is founded upon the power and poeticism of Shakespeare’s language. Subsequently, if we acknowledge Frank Kermode’s assertion that “the life of the plays is the language” and “the secret (of Shakespeare’s works) is in the detail,” what then becomes of this myth of universality, and how is Shakespeare’s language ‘transferred’ across cultures? In Asian intercultural adaptations, language becomes the primary site of confrontation as issues of semantic accuracy and poetic affiliation abound. Often, the language of the text is replaced with a cultural equivalent or reconceived with other languages of the stage – song and dance, movement and music; metaphor and imagery consequently find new voices. Yet if myth is, as Roland Barthes propounds, a second-order semiotic system that is predicated upon the already constituted sign, here being language, and myth is parasitical on language, what happens to the myth of Shakespeare in these cultural re-articulations? Wherein lies the ‘universality’? Or is ‘universality’ all that it is – an insubstantial (mythical) pageant? Using Ong Keng Sen’s Search Hamlet (2002), this paper would examine the transference of myth and / as language in intercultural Shakespeares. If, as Barthes argues, myths are to be understood as metalanguages that adumbrate social hegemonies, intercultural imaginings of Shakespeare can be said to expose the hollow myth of universality yet in a paradoxical double-bind reify and reinstate this self-same myth.

Human rights and traditional values

A series of ‘traditional values’ resolutions, passed by the UN Human Rights Council in 2009, 2011, and 2012, were the result of a highly controversial initiative spearheaded by Russia. Do these ‘traditional values’ underpin human rights? If not, why are religious traditions or, indeed, any traditional values worth preserving at all? Why are they valuable from the point of view of adherents to that tradition? Should the larger society take into account the fact that a practice is based on tradition in deciding whether or not to override it in the name of human rights? Put more technically, in what does the normativity of tradition lie, for adherents and non-adherents of that tradition? These are the questions that this essay explores, in the context of the recent debates over the scope and meaning of human rights stimulated by the Human Rights Council Resolutions. Much of the support for the Resolutions comes from what can broadly be called the global South. In several books, particularly Human Rights, Southern Voices, and General Jurisprudence: Understanding Law from a Global Perspective William Twining has explored the question of how to reconcile human rights norms and belief systems embedded in the global South (including ‘traditional values’), and in doing so has drawn particular attention to intellectuals from that part of the world, in particular Francis Deng, Yash Ghai, Abdullahi An-Na’im, and Upendra Baxi. I suggest that those concerned to recognize the legitimate concerns that significant sections of the global South have about the human rights project, concerns reflected in the ‘traditional values’ Resolutions would do well to pay more attention to the ‘Southern voices’ on whom Twining rightly focuses attention.

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

You get what you pay for : independent music and Canadian public policy

The aim of this MA thesis is to demonstrate how corporate concentration within the global music industry specifically affects the Canadian music industry's ability to compete for its own national audience as well as audiences worldwide. Federal public policies, regulatory regimes and subsidies are considered within the context of the structure of the global marketplace which is, in effect, an oligopoly controlled by four major corporations. Through an extensive literature review of political economy theory, Canadian public policies and music studies, as well as personal interviews conducted with Canadian musicians, entrepreneurs and public servants, I will situate my research within the body of political economy theory; present a detailed report of the structure of the global music industry; address the key players within the industry; describe the relationship between the major corporations and the independent companies operating in the industry; discuss how new technologies affect said relationships; consider the effectiveness of Canadian public policies in safeguarding the national music industry; and recommend steps that can be taken to remedy the shortcomings of Federal policies and regulatory regimes.

Le rôle des interfaces dans l’expérience de jeu vidéo : le jeu du ping-pong et son adaptation sur des plateformes numériques

Le succès commercial des jeux vidéo nous montre qu’ils sont devenus une alternative non négligeable en matière de loisir et de divertissement. En observant les tendances, on constate que les concepteurs de jeux vidéo cherchent à transposer ou adapter les loisirs comme la danse, l’interprétation de la musique ou la pratique d’un sport dans le contexte de jeux vidéo (l’univers virtuel) et ceci est devenu encore plus évident depuis l’apparition des nouvelles technologies intégrant le mouvement comme mode d'interaction. En rapport aux activités dont les jeux vidéo s’inspirent, ces tendances entraînent des changements considérables sur l’aspect formel de l’activité ludique et notamment l’interaction. Dans le cas particulier du tennis de table, ou ping-pong dans le langage courant, il semble y avoir des différences en terme de plaisir lors de la pratique de ce loisir de façon traditionnelle ou en mode virtuel dans ses différentes adaptations. Le but de cette recherche est de mettre en évidence les différences entre l’appréciation de l’interaction avec le contrôleur multifonctionnel Wiimote et une raquette traditionnelle de ping-pong et de découvrir les implications sur l’expérience du plaisir de la transposition du jeu ping-pong traditionnel comparé aux adaptations sur la console Wii. Ainsi, en regard du CLASSIC GAME MODEL de Juul (2005) et du modèle THE FOUR FUN KEYS de Lazzaro (2008) nous comparons les deux modes d’interaction, jeu traditionnel avec le jeu virtuel, sur le plan formel du jeu et sur les dimensions du plaisir que chacun procure. Les résultats obtenus par l’observation des tests de jeu et l’entremise des autres outils permettent de souligner le rôle déterminant des interfaces dans l’engagement des joueurs et de montrer les limites des interfaces digitales par rapport à celle des jeux traditionnels.

Of tradition and conversion : a comparative study of two Phuo griottes

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Antiobesity and antidiabetic activity of P. balsamifera, its active Salicortin, and L. laricina, medicinal plants from the traditional pharmacopoeia of the James Bay Cree

La prévalence de l’obésité, du diabète de type 2, et du syndrome métabolique, sont à la hausse chez les Cris d’Eeyou Istchee (CEI-Nord du Québec). Ces problèmes sont aggravés par leur diète non traditionnelle, leur sédentarité, ainsi que par une résistance culturelle aux produits pharmaceutiques. Afin de développer des traitements antidiabétiques culturellement adaptés, notre équipe a effectué une enquête ethnobotanique qui a identifié 17 plantes provenant de la pharmacopée traditionnelle des CEI. À partir des études de criblage effectuées in vitro, deux plantes parmi les 17 ont attiré notre attention. Populus balsamifera L. (Salicaceae) pour ses propriétés anti-obésité et Larix laricina K. Koch (Pinaceae) pour ses propriétés antidiabétiques. P. balsamifera et son composé actif salicortin ont inhibé l’accumulation de triglycérides durant l’adipogénèse dans les adipocytes 3T3-L1. L. laricina a augmenté le transport de glucose et l’activation de l’AMPK dans les cellules musculaires C2C12, l’adipogénèse dans les 3T3-L1 et a démontré un fort potentiel découpleur (propriété anti-obésité). Les objectifs de cette thèse sont d'évaluer les potentiels anti-obésité et antidiabétique et d’élucider les mécanismes d'action de P. balsamifera, salicortin, et L. laricina chez la souris C57BL/6 rendue obèse par une diète riche en gras (HFD). Les souris ont été soumises pendant huit (étude préventive) ou seize semaines (étude traitement) à une HFD, ou à une HFD dans laquelle P. balsamifera, salicortin, ou L. laricina a été incorporé soit dès le départ (prévention), ou dans les 8 dernières des 16 semaines d'administration de HFD (traitement). iv Les résultats démontrent que P. balsamifera (dans les deux études) et salicortin (évalué dans l’étude traitement) diminuent: le poids corporel, le gras rétropéritonéal, la sévérité de la stéatose et l’accumulation de triglycérides hépatique (ERK impliqué), les niveaux de glycémie et d'insuline, et le ratio leptine/adiponectine. Dans les deux études, P. balsamifera a significativement réduit la consommation de nourriture mais cet effet coupe-faim nécessite d’être approfondi. Dans l'étude préventive, P. balsamifera a augmenté la dépense énergétique (hausse de la température à la surface de la peau et de l’activation de la protéine découplante-1; UCP-1). Les voies de signalisation activées par P. balsamifera et par salicortin (de façon plus modeste) sont impliquées dans: la production de glucose hépatique (Akt), l’expression de Glut4 dans le muscle squelettique, la captation du glucose et du métabolisme des lipides (Akt dans le tissu adipeux), la différenciation des adipocytes (ERK et PPARg), l’inflammation dans le foie (IKKαβ), et l'oxydation des acides gras dans le muscle, le foie, ou le tissu adipeux (PPARa et CPT-1). D’autre part, L. laricina a également diminué les niveaux de glycémie et d’insuline, le ratio leptine/adiponectine, le gras rétropéritonéal et le poids corporel. Ces effets ont été observés en conjonction avec une augmentation de la dépense énergétique: hausse de température à la surface de la peau (prévention) et amélioration de la fonction mitochondriale et de la synthèse d'ATP (traitement). En conclusion, l’utilisation de P. balsamifera, salicortin et L. laricina comme des traitements alternatifs et culturellement adaptés aux CEI représente une contribution importante dans la prévention et le traitement de l’obésité et du diabète.

The Wolf and the Whale: aesthetic relationships between electroacoustic music and poetry inspired by the Canadian landscape

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Virginia Apgar and string music

Virginia Apgar (1909-1974) is one of the most recognized American doctors, worldwide known by his contribution as the developer of the "Apgar test" a method used for the evaluation of newborns all over the world. She had many interests. She was anesthesiologist, a brilliant teacher and researcher, but she also loved lecture, basketball, fishing, golf, philately, and music. She played violin and cello and she interpreted that instruments in various chamber groups. Being motivated by one of her patients, Carleen Hutchinson, a science and music teacher, she made four instruments, viola, violin, cello, and mezzo violin. Nearly twenty years of her death, on October 24 1994, on the occasion of the annual meeting of the American Academy of Pediatrics and the issue by American Postal Service of a stamp honoring her, some of the preferred Dr. Apgar music pieces where performed with the instruments she made. Her life mixed different activities and let invaluable contributions for humanity.

The music instinct: the evolutionary basis of musicality

Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality—communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture—was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.

Neurocognitive control in dance perception and performance

Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers’ exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers’ timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroaesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialogue between science and dance.

Assessing how retrofit of traditional buildings impacts indoor environment and occupant’s thermal comfort

Buildings consume a large amount of energy, in both their use and production. Retrofitting aims to achieve a reduction in this energy consumption. However, there are concerns that retrofitting can cause negative impacts on the internal environment including poor thermal comfort and health issues. This research investigates the impact of retrofitting the façade of existing traditional buildings and the resulting impact on the indoor environment and occupant thermal comfort. A Case building located at the University of Reading has been monitored experimentally and modelled using IES software with monitored values as input conditions for the model. The proposed façade related retrofit options have been simulated and provide information on their effect on the indoor environment. The findings show a positive impact on the internal environment. The data shows a 16.2% improvement in thermal comfort after retrofit is simulated. This also achieved a 21.6% reduction in energy consumption from the existing building.

Investigation of Risk Factors and Characteristics of Dance Injuries

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A identidade forjada pela mídia: expressões cotidianoas reveladas por jovens das classes populares em roteiros pelos metrôs de São Paulo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)