Neuer Versuch einer Chronologie der hebräischen Könige

von Adolf Kamphausen

Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik : från Gustav III:s originaldramatik till dagens beställningsdramatik

The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play. In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed. The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today. The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals. Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.

Med det falska och det ärligä ögat: (en bok om en människa II) af Adolf Paul

Alanimeke kannessa ja esiössä: en reflexstudie.

Ung-Hans' kärleksbref: (en bok om en människa III) af Adolf Paul

Kannen signeeraus: Arthur Högstedt.

Prologo a las investigaciones dirigidas por el Dr. Adolf Zilch

La primera tarea de un Instituto nuevo que se dedica a la investigación científica pura dentro de un territorio poco conocido es elaborar un catálogo de las riquezas naturales que constituyen la fauna y la flora de dicho país. Por esta razón es la tarea básica de nuestro Instituto Tropical de Investigaciones Científicas de El Salvador investigar la fauna y flora un mapa geológico del país. Las clases de los vertebrados están terminadas o actualmente en trabajo, tenemos ya en nuestras manos los manuscritos acerca de las aves, anfibios y reptiles de El Salvador; actualmente se están estudiando los mamíferos un especialista en peces, la última clase de vertebrados, llegara a principios del año entrante. También diferentes grupos de los invertebrados, como por ejemplo los caracoles terrestres y varios grupos de insectos están ya investigados. En cuanto a la flora, se está elaborando una descripción de las especies de las catorce familias de la fanerógamas pentacíclicas, a las cuales pertenecen las orquídeas y las bromeliáceas. El trabajo de la fauna y flora tiene dos fines: describir las especies nuevas recién descubiertas y comprobar la presencia de las especies ya conocidas que hasta ahora no se habían descrito.

Sphingidae de El Salvador: (Resultado del viaje de exploración Dr. Adolf Zilch 1951 en El Salvador Nº2)

Entre los miles de lepidópteros coleccionados por el Dr. Adolf Zilch durante su estancia en El Salvador se hallaban 204 sphingidae de 33 especies donde no se anota diferentemente los animales proceden de San Salvador. Todos fueron coleccionados mediante captura por luz, por ofrecerse precisamente buena ocasión para aquel método en el Instituto Tropical de Investigaciones Científicas de El Salvador. Los faroles colocados alrededor del Instituto atraían con su luz resplandeciente masas de insectos noche tras noche y el Dr. Zilch los coleccionaba cada tres o cuatro horas en la pared iluminada del edificio. En los anales del Instituto de Biología de 1942, Carlos especificó para México 154 especies de sphingidae.

Gyrinidae de El Salvador (Resultado del viaje de exploración Dr. Adolf Zilch 1951 en El Salvador, No 1)

Hasta hoy día no se habían descrito de El Salvador, coleópteros de la familia de los Girinidos. Por eso me ha alegrado mucho obtener del Museo Senckenberg, en Francfort A. M. Una colección de estos coleópteros, coleccionados por el Dr. Zilch durante sus viajes de exploración, en El Salvador, en el año 1951. El material investigado contenía 7 especies, entre las cuales se encontraban dos Gyretes hasta ahora desconocidos. Simultáneamente recibí del museo zoológico de Vienna tres ejemplares de Dineutus sublimatus que se habían coleccionado en 1877 en El Salvador.

Production and carbonate dynamics of Halimeda incrassata (Ellis)Lamouroux altered by Thalassia testudinum Banks and Soland ex König

Ocean acidification poses a serious threat to a broad suite of calcifying organisms. Scleractinian corals and cal- careous algae that occupy shallow, tropical waters are vulnerable to global changes in ocean chemistry be- cause they already are subject to stressful and variable carbon dynamics at the local scale. For example, net heterotrophy increases carbon dioxide concentrations, and pH varies with diurnal fluctuations in photosyn- thesis and respiration. Few researchers, however, have investigated the possibility that carbon dioxide con- sumption during photosynthesis by non-calcifying photoautotrophs, such as seagrasses, can ameliorate deleterious effects of ocean acidi fi cation on sympatric calcareous algae. Naturally occurring variations in the density of seagrasses and associated calcareous algae provide an ecologically relevant test of the hypoth- esis that diel fl uctuations in water chemistry driven by cycles of photosynthesis and respiration within seagrass beds create microenvironments that enhance macroalgal calci fi cation. In Grape Tree Bay off Little Cayman Island BWI, we quanti fi ed net production and characterized calci fi cation for thalli of the calcareous green alga Halimeda incrassata growing within beds of Thalassia testudinum with varying shoot densities. Re- sults indicated that individual H . incrassata thalli were ~6% more calci fi ed in dense seagrass beds. On an areal basis, however, far more calcium carbonate was produced by H . incrassata in areas where seagrasses were less dense due to higher rates of production. In addition, diel pH regimes in vegetated and unvegetated areas within the lagoon were not signi fi cantly different, suggesting a high degree of water exchange and mixing throughout the lagoon. These results suggest that, especially in well-mixed lagoons, carbonate pro- duction by calcareous algae may be more related to biotic interactions between seagrasses and calcareous algae than to seagrass-mediated changes in local water chemistry.

The spatial rhetoric of Gustav Zeiller's popular anatomical museum

This article focuses on the public experience of science by studying the exhibition practice of a small popular anatomy museum. The owner, Gustav Zeiller, a little-known German model maker and entrepreneur, opened his private collection in Dresden in 1888 with the aim of providing experts and laymen alike with a scientific education on bodily matters and health care. The spatial configuration of his museum environment turned the wax models into didactic instruments. Relying on the possible connexion between material culture studies and history of the emotions, this article highlights how Zeiller choreographed the encounter between the museum objects and its visitors. I argue that the spatial set up of his museum objects entailed rhetorical choices that did not simply address the social utility of his museum. Moreover, it fulfilled the aim of modifying the emotional disposition of his intended spectatorship. I hope to show that studying the emotional responses toward artefacts can offer a fruitful approach to examine the public experience of medicine.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.