The aim of this dissertation is to show the shortcomings of the Computer Evidence Act No 57 of 1983 , in so far as the requirements of authentication of computer generated documents before their admissibility as evidence in a court of law. / LL.M.

This study examines how news issues help frame telenovela plots and compares how the print media and telenovelas frame several key social and political issues. Secondary systematic sampling of the Brazilian leading daily newspaper O Jornal do Brasil and newsmagazine Veja/Veja-Rio from January 2007 to April 2008 generated 313 news stories along with 292 photos for analysis. A five-composite week sample of TV Globo’s 8 p.m. hit telenovela Duas Caras resulted in 31 episodes — including its premiere and finale — or a total of 1,051 scenes to explore. Applying framing theory (Reese, 2003) through a reciprocal and dynamic comparative narrative analysis (Berger, 2005; Berger, 1997) to this body of materials suggests the telenovela, compared to news, is a more progressive storyteller with regard to race, class and gender news issues. Salient latent news frames The Government is the family and Brazilian democracy is more social than racial emerge from this study’s news portion. These are compared with the emergent salient latent novela frames Family first, family forever and It’s not the position that rules, but the influence. For the first time in TV Globo’s history, an Afro-Brazilian is an 8 p.m. telenovela hero. In addition, Duas Caras highlights his successful municipal election campaign, right around the time municipal election campaigns in Brazil were gearing up and while U.S. citizens were considering then electing their first Afro- American president. Duas Caras also sanitizes favelas, or Brazilians shantytowns, contrasting the fictive locale of Portelinha against marginalized portrayals of favelas and their residents in the news. In a diversifying media environment where lines between fact and fiction are increasingly less apparent, Brazilian (alternative) news studies, such as social marketing themes in telenovelas, are critical measures of the state of media opening in Brazil (Porto, 2007). They also reveal from which source(s) Brazilians receive their news information, raising the question, Do telenovelas help frame news issues? / text

At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her city. Yet, in 1525, Barthel Beham, a young artist from Nuremberg, created Judith Seated on the Body of Holofernes, an engraving in which a voluptuous nude Judith sits atop Holofernes’s nude torso. Neither the textual nor the visual traditions explain Beham’s choice to perch the chaste woman on top of her slain enemy, so what sources inspired the printmaker? What is the meaning of Judith’s provocative position? The tiny printed image depicts the relationship between a male figure and a female figure. Thus, in order to appreciate the complexity of that relationship, I begin this thesis by reviewing what it meant to be a man and what it meant to be a woman in early sixteenth-century Germany. Because gender roles and the dynamics between the sexes were so complex, I encourage scholars to reevaluate Weibermacht (Power of Women) imagery. The nudity of Beham’s Judith and her intimate proximity to Holofernes suggest that Judith Seated on the Body of Holofernes is a Weibermacht print. In fact, Judith’s pose specifically echoes that of Phyllis riding Aristotle, a popular Weibermacht narrative. The combined eroticism of Judith’s exposed body and her compromising position would have appealed broadly to male viewers, but Beham likely targeted an erudite audience of well-educated, affluent men when he designed the multivalent print. Through close visual analysis and careful consideration of which prints circulated in early sixteenth-century Nuremberg, I argue that Beham’s Judith resembles witches riding backwards on goats, crouching Venuses, and a woman in the “reverse-cowgirl” sex position. Admittedly, it is impossible to know which sources Beham studied in preparation for Judith Seated on the Body of Holofernes, but I am inclined to believe that he wanted each of those jocular references to enrich the meaning of his work, providing a witty commentary on the power of women. But regardless of the artist’s intentionality, I think visually literate viewers would have recognized and enjoyed decoding the layers of meaning in Beham’s odd engraving. / text

Oil is central to our lives and is the source of many of the conveniences that we take for granted. It can bring wealth and prosperity to individuals and to nations, but is also a source of political conflict and the consequences of its impact on the environment are only now beginning to be fully recognised. The oil companies have been leaders in the development of marketing and branding and this thesis traces the history of the oil industry and analyses the different forms of print advertisements that its major companies have produced over a period of some hundred years, from the industry’s infancy until 2012. It takes a cultural semiotic perspective to investigate and reveal the ways in which the companies have adapted their advertising messages to the prevailing socio-political conditions to reflect current attitudes and to guide both public opinion and national policy. The analyses demonstrate how the companies have responded to different crises and to increasing globalisation and how they have engineered a shift from product to presence and from oil to energy to communicate a more environment-friendly image. A close reading of the advertisements produced by the companies shows how they have cast themselves in the mythical role of the indefatigable hero whose mission is the common good. Moreover, it uncovers the different heroic personalities that they have acquired and adopted over time to differentiate their products and services. / Olja är en central faktor i våra liv och en källa till många av de bekvämligheter som vi tar för givna. Den kan bringa nationer och individer rikedom och välstånd men den kan också ge upphov till politiska konflikter – och dess miljökonsekvenser börjar först nu bli helt klarlagda. Oljebolagen har varit ledande inom marknadsföring och branding. Denna avhandling följer oljeindustrins historia och analyserar de tryckta annonser som de stora oljebolagen har producerat under en period av drygt hundra år, från oljeindustrins barndom till och med 2012. Utifrån ett kultursemiotiskt perspektiv undersöks och klarläggs hur bolagen har anpassat sina reklambudskap till rådande sociopolitiska förhållanden och på så sätt sökt både spegla gängse attityder och styra opinionsbildning och politik. Analyserna visar hur bolagen, som svar på olika kriser och en ökande globalisering, har förändrat sina budskap. Dels har ett fokus på produkten ersatts av ett fokus på närvaro, dels har olja ersatts av energi, allt för att kommunicera en mer miljövänlig image. En närläsning av bolagens annonser visar hur de konstant har framställt sig själva som den oförtröttlige hjälten vars mål är det allmänna bästa samt vilka olika hjälteskepnader de har iklätt sig över tid. / <p>Images removed due to copyright.</p><p>For a complete copy contact ep@ep.liu.se or pamela.vang@liu.se</p>

<p>Disertacija daje pregled novih i relevantnih istraživanja i stavova<br />u naučnoj zajednici na temu štamparskih formi i uticaja procesa<br />štampe na trošenje neštampajućih elemenata. U disertaciji je<br />ukazano na kontinualno praćenje topografskih promena<br />neštampajućih elemenata štamparskih formi kako bi se kontrolisao<br />period eksploatacije a time i proces reprodukcije. Takođe daje<br />prilog novim istraživanjima sa analizom velikog broja<br />eksperimentalnih uzoraka sa dobijenim izmerenim podacima i<br />odgovarajućim korelacijama i predstavlja napredak u shvatanju<br />mehanizma trošenja neštampajućih površina štamparskih formi i<br />njihov uticaj na tribološke promene u odnosu na strukturu osnove<br />aluminijuma i sloja aluminijum oksida.</p> / <p>Dissertation gives an overview of the current state, research and theories of<br />printing forms and influence of printing process on wearing of non-printing<br />elements within the science community. The dissertation points out the continuous<br />monitoring of topographic changes of printing form non-printing elements to control<br />the exploitation of a period of time and the process of reproduction. This work<br />contributes to new research with the analysis of large number of experimental<br />samples and calculated correlations and represents an advance in the<br />comprehension of the surface wear mechanism of printing form non-printing<br />elements and their influence on the tribological changes to the structure of the<br />base layer of aluminium and aluminium oxide.</p>

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

En se basant sur l’histoire des Bradfords, l’une des plus grandes familles d’imprimeurs de l’histoire américaine, ce mémoire étudie la relation entre l’imprimé, les imprimeurs, et divers discours sur la liberté au cours du « long » 18e siècle. Il retrace la transition entre une ère de la « liberté de parole, » née des débats sur la liberté de presse et d’expression de la période coloniale, et une ère de la « parole de la liberté, » née au cours de la Révolution et entretenue sous la jeune république. Cette transition fut le produit de la transformation du discours des contemporains sur la liberté, mais s’effectua également en lien avec la transformation du milieu de l’imprimerie et de la culture de l’imprimé. Selon les circonstances politiques, sociales, économiques et culturelles particulières des périodes coloniale, révolutionnaire, et républicaine, l’imprimé et les imprimeurs américains furent appelés à disséminer et à contribuer au discours sur la liberté. Ils établirent ainsi une forte association entre l’imprimé et la liberté dans la culture de l’imprimé du 18e siècle, qui était destinée à être transmise aux siècles suivants. Mots- / Based on the family history of the Bradfords, one of America’s most celebrated printing dynasties, this thesis studies the interplay between print, printers, and various discourses on freedom during of the long 18th century and through the colonial, revolutionary, and early republican periods. It traces the transition between an era of the “speech of freedom,” born out of the colonial debates on the freedom of speech and press, and an era of the “freedom of speech,” born in the course of the Revolution and upheld during the early republic. This transition resulted from the transformation of the contemporaries’ discourse on liberty, but also had to do with the transformation of the printing trade and print culture. As a result of the political, social, economic, and cultural circumstances of the colonial, revolutionary, and early republican periods, American print and printers were led to disseminate and to contribute to the discourse on liberty. They thus established a strong association between print and freedom in the 18th-century print culture, an association which was destined to be transmitted to the following centuries.

I explore visual and process-based systems to solidify the allusive nature of conceptual ideas. Impermanence, time and interdependence are reoccurring themes that stem from an interest in Eastern philosophy. Oscillating from representation to abstract minimalism, printmaking to sculpture, each element in a work is tailored to the concept. The minimalist appearance suggests simplicity, however elaborate planning and systematic execution are at the heart of my practice. Systems create great constraint, yet provide great freedom.

Driven by the crippling command of Eros, my work provides a veiled exposure to my secret life in love, desire, fear, and obsession. My sculptures are the physical evidence of an emotional realm coming forth in a coded language that is, even to me, only remotely accessible. The Demon that Lives in My Bedroom, the saga of the Cat People, the stories of Trasnichi and the Love Crusade; all came to me in a beam of thought. Once the beam takes hold, it becomes my obsession, and the era of that work begins. I can trace my development through these eras of obsessions.

Containing portraiture and biography as well as protest text and affirmative text, African- American Illustrated biographical dictionaries made from 1876 to 1917 present Social Gospel ideology and are examples of Afro-Protestantism. They are similar to the first American illustrated biographical dictionaries of the 1810s in that they formed social identity after national conflict while contesting concepts of social inferiority. The production of these books occurred during the early years of Jim Crow, a period of momentous change to the legal and social fabric of the United States, and because of momentous changes in modern American print industries. While portraits within the books simultaneously form, blur, and stabilize identity, biographies convey themes of perseverance, social equity, and social struggle. More specifically, text formed an imagined community in the African-American middle class imaginary. It worked together with image to help create a proto-Civil Rights social movement identity during the beginning of racial apartheid.