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In this paper, I focus on an offstage character in Shakespeare’s The Tempest, Claribel, the Neapolitan princess who is given to the King of Tunis by her father King Alonso in an arranged marriage. ...

This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world. This essay was completed under the auspices of the Pre-doctoral Funding (PRE_2017_1_0210 MOD.:A), awarded by the Basque Government, and REWEST research group (IT 1026-16), funded by the Basque Government and the University of the Basque Country (UPV/EHU). It was also financed by the research project “New Wests” (PGC2018-094659-B-C2), sponsored by the Ministry of Science and Innovation, Government of Spain.

In the field of literature, the study of colonization and its aftermath is a significant phenomenon. Shakespeare’s The Tempest presents the story of colonial exploitation, and the tragic and inevitable disintegration of native culture as the result of European invasion and colonization. Instead of justifying the idea of colonization, The Tempest presents a criticism of it. On the other hand, in Tagore’s Tasher Desh (The Country of Cards) and Achalayatan (The Land of Immobility), we see the different attitudes towards European invasion and colonization. Instead of presenting the negative aspects of colonization, as expected from a writer who spent whole of his life under the British colonial rule, Tagore rather shows ambivalent attitudes towards colonization. In this paper we discuss different attitudes towards colonization as expressed in Shakespeare’s The Tempest in the one hand, and Tagore’s Tasher Desh and Achalayatan on the other hand. This paper draws on a close analysis of the texts using some postcolonial insights, theory of hybridity, and theory of ambivalence. Hybridity theory is credited to Homi K Bhabha. It claims that in creating a shared culture the colonizer and the colonized are mutually interdependent. Again, ambivalence theory, adopted by Bhabha into colonial discourse, examines the ambivalent feeling of repulsion and attraction that typifies the relationship between the colonized and the colonizer. The insights developed from the research will contribute to academic understanding of the shared culture constructed by the interactions between the colonized and the colonizer.

A resurgence of interest in Shakespeare's late romances has scholars once again asking what kind of work is The Winter's Tale. After The Tempest, it has occupied critics over the first two decades of the twenty-first century more than any other in this group of late plays. Besides a variety of new themes, dramatic material, staging challenges, and interpretive cruxes, the question of genre among these plays still puzzles late modern critics as much as it did early Enlightenment critics. What was Shakespeare doing experimenting with genre so late in his career, where elements of tragedy and comedy seem to flow together to create a hybrid form or introduce something new on the stage? This article considers how new approaches to The Winter's Tale parallel new speculations about its genre and decisions about its performance on stage. Considering how the issue of genre operates as a kind of regulative principle over new interpretations in much the same way that stage productions must make the play coherent in a limited physical space for an evening's entertainment, the article makes a case for preserving the work's central and traditionally celebrated wonder.

Julie Taymor’s cross-gender casting is neither new nor shocking in any sense since this choice of change in Prospero’s gender can be seen in theatrical productions produced before Taymor’s movie. F...

We address personalized Electronic Direct Mail (EDM) subject generation, which generates an attractive subject line for a product description according to user's preference on different contents or writing styles. Generating personalized EDM subjects has a few notable differences from generating text summaries. The subject has to be not only faithful to the description itself but also attractive to increase the click-through rate. Moreover, different users may have different preferences over the styles of topics. We propose a novel personalized EDM subject generation model named Soft Template-based Personalized EDM Subject Generator (TemPEST) to consider the aforementioned users' characteristics when generating subjects, which contains a soft template-based selective encoder network, a user rating encoder network, a summary decoder network and a rating decoder. Experimental results indicate that TemPEST is able to generate personalized topics and also effectively perform recommending rating reconstruction.

There was certainly much about the hurried switch from in-person to online teaching and learning in the early months of the COVID-19 pandemic that inspired angst. The decisions that many colleges and universities made to halt on-campus activities and deconcentrate their communities left scores of us scrambling to pack up some of the things we hoped would help us withstand a few weeks away from our offices and classrooms. When I think back on those frenzied days, I often chuckle at how naive I was about the extent to which the pandemic would radically upend our lives, forcing us to rethink every aspect of our ways of being in the world. I was in the middle of leading a discussion on The Tempest in my dramaturgy course when the official word came down from university administrators that all classes would move online and most students would have to vacate their residence halls. A palpable feeling of dread quickly swept over the stuffy classroom. Students began to weep and to wonder out loud what the news would mean for, say, their senior thesis projects or the department's futuristic mounting of The Tempest, which would have to shutter before its second weekend of scheduled performances. I tried my best to remain optimistic, even as I too began to question what the fast-moving changes would mean for how we would finish out the semester. I felt a special call to offer comfort, reaffirming my commitment to supporting students no matter what was ahead.

The side-channels are defined as the deviation of information from its legitimate path due to one or several physical phenomena. These leaks are able to bypass some security systems and to affect secure communication systems. In this thesis, we investigate the various existing side-channels and discuss their main properties. Among the various leakages, electro-magnetic waves appear to be the most difficult to perceive and we particularly focus here in the side-channel impacting frequency hopping signals. A real-time wideband interception system is proposed and used on frequency hopping transceivers. The proposed interception system is based on software defined radio and leverages hardware resources and a new software methodology based on Julia language. Finally, the existence of telecom side-channels in Bluetooth communications has been demonstrated on several microcontrollers chips, even in normal process functioning.; Les canaux auxiliaires correspondent à la déviation d'une information de son chemin légitime par l'intermédiaire d'un ou plusieurs phénomènes physiques. Ces fuites sont capables de contourner certaines sécurités et d'impacter les systèmes de communication sécurisés. Dans cette thèse, nous étudions les différents canaux auxiliaires existants et analysons leurs principales caractéristiques. Les fuites d'information sous forme d'ondes électromagnétiques apparaissent clairement comme les plus difficiles à percevoir et nous nous intéressons ici plus particulièrement aux canaux auxiliaires impactant les communications à saut de fréquence. Cette étude mène à la création d'un système d'interception de ces signaux en temps réel et large bande. L'utilisation de radio logicielle combinée au langage Julia a permis la réalisation et la validation du système d'interception qui par la suite a été utilisé pour confirmer la présence de canaux auxiliaires télécom sur des transmissions Bluetooth. Des compromissions ont ainsi été mises en évidence sur des composants sur puce à base de microcontrôleurs.

This article discusses the TV series The Wilds (Amazon Prime, 2020) as an adaptational experiment with Shakespeare’s The Tempest in several respects: as one of the latest complex TV shows to engage with the Shakespearean legacy, it experiments with the serialization of Shakespeare’s plot. Further, being an ‘unmarked’ adaptation that never directly refers to Shakespeare, it tests the limits as to what is ‘Shakespeare’ and what is ‘not Shakespeare’ or ‘no longer Shakespeare’ in the adaptational rhizome created by The Tempest and its reworkings, among which Lord of the Flies, Brave New World, and the TV series Lost are of particular importance for The Wilds. Changing Shakespeare’s character constellation to an all-female group of teenage castaways overseen by a female social scientist modelled on Prospero who seeks to overcome master narratives of fraternal power struggles, colonial exploitation, and patriarchal sexual oppression, The Wilds tests which changes the Shakespeare material can and perhaps needs to undergo to continue to have cultural meaning today. As part of this radical re-gendering, the series multiplies and collates Miranda, Ariel, and Caliban to interrogate contemporary girlhood and the future of intersectional feminism. The article concludes by assessing how the series appeals to differently knowing viewers, some of whom will feel invited to partake in the Tempest experiment, while others will lose Shakespeare’s tracks in The Wilds.

Ilmastosopimukset ja alati tiukkenevat ilmastotavoitteet ovat ajaneet kuntia investoimaan vähäpäästöisempään energiantuotantoon. Tämä diplomityö on osa yhteistutkimushanketta, jossa tutkittiin lämmön talteenottopotentiaalia jätevesiverkoista. Tässä työssä mallinnettiin jätevesiverkostojen virtaus- ja lämpötekninen toiminta talteenottopotentiaalin sekä verkoston ja jätevedenpuhdistamon häiriöttömän toiminnan edellytysten analysoimiseksi eri lämmön talteenottoskenaarioiden yhteydessä. Mallien avulla saatiin myös parempi käsitys jätevesiverkostojen nykyisestä toiminnasta. Työssä rakennetut termodynaamiset jätevesiverkostomallit olivat tähän saakka suurimmat maailmassa. Koska valmiita tutkimukseen soveltuvia ohjelmistoja ei ollut olemassa, työssä kehitettiin uusi tarvittava toiminnallisuus Fluidit Sewer -mallinnussovellukseen. Kehitys aloitettiin oleellisimpien termodynaamisten prosessien valinnalla. Näiden perusteella muodostettiin termodynaaminen simulaattori hydraulisen simulaattorin rinnalle. Herkkyystarkasteluiden perusteella tärkein parametri prosesseissa oli maaperän lämpötila. Työssä kehitettiinkin erillinen malli maaperän lämpötilan laskemiseksi tietyllä syvyydellä ilman lämpötilahistorian perusteella. Lisäksi työssä tutkittiin yksittäisen virtauskanavan lämmönsiirtokerrointa jäteveden ja ilman välillä sekä lämpötilagradienttia kanavan ympärillä olevassa maaperässä numeerisella virtausmallinnuksella. Lopuksi simulaattori kalibroitiin ja validoitiin (kahdella eri alueella) Helsingissä ja Turussa tehtyjen mittausten perusteella. Jätevesiverkostomallit rakennettiin simulaattorin kehityksen ja validoinnin jälkeen. Sekä Turusta että Helsingistä saatiin valmiit jätevesiverkostomallit, joihin tehtiin vain termodynaamisen laskennan vaatimat lisäykset ja muutokset. Nämä parametrit sisälsivät muun muassa virtauskanavien lämpöhäviöihin vaikuttavat lämmönsiirtokertoimet eri putkimateriaaleille ja -halkaisijoille. Mallinnetut skenaariot kuvasivat verkostojen nykyistä toimintaa sekä toimintaa lämmön talteenoton yhteydessä. Mallinnettaviksi kuukausiksi valittiin maalis-, kesä- ja syyskuu. Mallinnustulosten perusteella lämmön talteenotto ei lisännyt verkostojen tukos- tai jäätymisriskiä, ja otollisin aika lämmön talteenotolle on kesäkuusta joulukuuhun, kun maaperän lämpötila on vielä suhteellisen korkea. Tulosten mukaan jätevedenlämpötila voi laskea jätevedenpuhdistamon häiriöttömän toiminnan kannalta liian matalaksi helmi–maaliskuussa. Lämmön talteenotto laski mallinnuksissa jätevedenpuhdistamolle saapuvan jäteveden lämpötilaa 10–18 % riippuen tarkasteltavasta kuukaudesta ja verkostosta. Koska käytetyt verkostomallit olivat hyvin suuria, tarkkojen arvojen ilmoittamiseksi tarvittaisiin enemmän verkostossa tehtyjä lämpötilamittauksia.

Creation Theatre is a company that performs site-specific productions of classic texts: previous productions have included The Tempest in an Oxford industrial estate, and Dracula in the London Libr...

Two main classes of optical TEMPEST attacks against the confidentiality of information processed/delivered by devices have been demonstrated in the past two decades; the first class includes methods for recovering content from monitors, and the second class includes methods for recovering keystrokes from physical and virtual keyboards. In this paper, we identify a new class of optical TEMPEST attacks: recovering sound by analyzing optical emanations from a device's power indicator LED. We analyze the response of the power indicator LED of various devices to sound and show that there is an optical correlation between the sound that is played by connected speakers and the intensity of their power indicator LED due to the facts that: (1) the power indicator LED of various devices is connected directly to the power line, (2) the intensity of a device's power indicator LED is correlative to the power consumption, and (3) many devices lack a dedicated means of countering this phenomenon. Based on our findings, we present the Glowworm attack, an optical TEMPEST attack that can be used by eavesdroppers to recover sound by analyzing optical measurements obtained via an electro-optical sensor directed at the power indicator LED of various devices (e.g., speakers, USB hub splitters, and microcontrollers). We propose an optical-audio transformation (OAT) to recover sound in which we isolate the speech from optical measurements obtained by directing an electro-optical sensor at a device's power indicator LED. Finally, we test the performance of the Glowworm attack in various experimental setups and show that an eavesdropper can apply the attack to recover speech from speakers' power LED indicator with good intelligibility from a distance of 15 meters and with fair intelligibility from 35 meters.

A distinctive feature of Shakespeare’s The Tempest is its five songs, four of which are sung by Ariel, and the last of which, an instrumental, appears also to be played by that “tricksey Spirit.” M...

Prospero in Shakespeare's last play, The Tempest, written around 1611 and first published seven years after the dramatist’s death, in 1623, is not a duke who has failed in his task of ruling, but a man who has gained power to direct and discipline others. To that sense, he tends to be the god-man like who rightly castigates and strictly scourges. The magician appears to be so humane at times and too harsh at other times that he dazzles, leads astray or terrifies the island’s dwellers, an ambivalent mission that further intensifies the enigmatic nature of the play. While he has intentionally raised a storm to cause the disorder of the drunken sailors' minds and bodies, thus leaving them on shore at the mercy of chance, instead of winds and waves as before, he has laboriously established order towards the end of the play. Prospero's white magic helps him bring together characters speaking their true character irrespective of their social classes: princes, courtiers, and sailors. When disharmony begets harmony, humanism emerges from the tragi-comic elements, and when the concept of colonization exists, it strikingly embodies the notion of resistance, where the relationship between the self and the other, the centralized and the marginalized, is perhaps blurred. Such are some of the facets the reader is presented with in The Tempest. This paper is yet an attempt to explore the many facets of Shakespeare’s last masterpiece. Within the framework of being a keynote to harmony, the paper would study the play in light of humanism, colonialism, drama genres and other aspects.

The article focuses on the rebellious subplot of William Shakespeare’s The Tempest that forms around Caliban, Stephano, and Trinculo, and reads it as a satyr play. Demonstrated is how the Dionysian subplot stands in close analogical connection with the play’s main action. It is also argued that the storyline emphasises a dimension of the play that is of high relevance to the analysis of its metatheatrical implications. The correspondences between the main action and the satyr play elements highlight the important role that intemperance, excess and the suspension of control play in the Shakespearean theatrical setting. Le présent article s’intéresse à l’intrigue secondaire de La Tempête, de William Shakespeare, qui s’organise autour de la rébellion de Caliban, de Stephano, de Trinculo, abordée comme drame satyrique. Il démontre comment cette intrigue secondaire dionysiaque comporte des liens analogiques étroits avec l’action principale. L’auteur avance également que la trame de l’action souligne une dimension de la pièce qui s’avère importante pour l’analyse des implications métathéâtrales. Les correspondances entre l’action principale et le drame satyrique mettent en relief le rôle important de l’intempérance, de l’excès et du dérèglement dans un contexte dramatique shakespearien.

This article discusses the Australian artist Loudon Sainthill’s stage and costume designs for Michael Benthall’s Shakespeare Memorial Theatre production of The Tempest (1951, 1952). Calling...

Nowadays an electromagnetic penetration process of electronic devices has a big significance. Processed information in electronic form could be protected in different ways. Very often used methods limit the levels of valuable emissions. But such methods could not always be implemented in commercial devices. A new solution (soft tempest) is proposed. The solution is based on TEMPEST font. The font does not possess distinctive features. This phenomenon causes that at an output of Side Channel Attack the possibilities of recognition of each character which appears on the reconstructed image for sources in the form of graphic lines (VGA and DVI) are limited. In this way the TEMPEST font protects processed data against electromagnetic penetration not only for VGA and DVI standards. The data are protected during printing them on laser printers too.

Comparison of eight Polish translations of the fi nal segment of the Epilogue in William Shakespeare’s The Tempest reveals an essential diversifi cation in the contents of these translated versions. The differences appear in the identity of Prospero and in the discursive structure of his monologue. This article attempts to describe this diversifi cation with the use of the categories of acts and genres of speech, since it is these that form the ‘construction material’ of utterances, including literary texts, creating diverse confi gurations in them. These categories of description, enabling insight into compositional actions done on simple forms of discourse, elevates the analysis of translation practices and consideration of the issue of equivalence of translation to a higher level of text organisation.

The versatility of the appropriation of Shakespeare in recent years has been witnessed in a variety of registers and media, which range from special effects on the stage, music, cartoons, comics, advertisements, all the way to video games. This contribution looks at some of the novels in the Shakespeare Re-told Hogarth series as effigies of the contemporary process of adapting the Elizabethan plays to the environments in which the potential readers/viewers work, become informed, seek entertainment and adjust themselves culturally, being, ultimately, cognitive schemes which are validated by today’s reception processes. The first novel in the series was Jeanette Winterson’s Gap of Time (2016), in which the Shakespearean reference to the years that separate the two moments of The Winter’s Tale’s plot becomes the title of a video game relying mainly on fantasy. Margaret Atwood’s Hag-Seed (2016) rewrites The Tempest as a parable of the theatrical performance and its avatars, as undisputable authority, on the one hand, and source of subversiveness, on the other. Dunbar (2018) is Edward St. Aubyn’s response to the family saga of King Lear, where kingship, territorial division and military conflict are replaced by modern media wars, and the issues of public exposure in the original text are reinterpreted interpreted by resorting to the impact of the audio-visual on every-day life.

This essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.

What might Caliban have looked like on the early modern stage? This article argues that at one point in The Tempest (2.2.56–107) Shakespeare presents on stage an elaborate theatregram invoking a sp...

The differences between the second quarto (1604-5) version of Hamlet’s soliloquy beginning ‘To be, or not to be’ and the version contained in the first quarto (1603) have often been used to argue for the authorial integrity of the former and the degenerate nature of the latter. However, recent research has questioned the customary primacy between these two texts, arguing instead that Q2 revises and expands Q1 (as the title page of Q2 claims). This article will attempt to substantiate this interpretation by showing that Shakespeare's revision of ‘To be, or not to be’ is inspired by the ideas and vocabulary of Montaigne’s essay ‘By diuers meanes men come unto a like end’, translated by John Florio and published in 1603. Shakespeare’s indebtedness to Montaigne has been noted before, most notably in The Tempest. But it is significant that possibly Shakespeare’s first direct encounter with Montaigne is inspired by the very first three pages of Montaigne’s Essays.