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Ideas for ways to use textiles and other materials as body coverings, or as a form of apparel decoration, as well as protection, continued to evolve throughout history. More complex ideas and outcomes developed with the advent of weaving, and rectangular shapes were draped in folds, tied, or wrapped around the body. An accepted practice in the apparel industry is seeking inspiration for ideas from a variety of people, places, and things. This practice of seeking inspiration from the environment leads to the question of whether copying is inherent within the apparel industry. History of costume research and study indicate that it is generally accepted that people wear differing apparel for each season of the year, with some repeat, or copying, in the same season in subsequent years. The terms counterfeiting, knocking-off, and copying are often used interchangeably, but further exploration of the terms show they are not the same. Counterfeiting has become, and remains a hot topic in the apparel industry, particularly in product development. Some designers have begun to challenge and demand their work be protected in some manner such as copyrights, trademarks, or patents. Questions and concerns abound among product developers. This study was exploratory in nature, seeking a definition, and identifying a specific point in the product development process, when a certain activity (i.e., copying) is more likely to be performed. Therefore, qualitative methods were used to achieve the objectives of the research. This research took a cross-sectional approach within a qualitative design study when selecting the participants. The cross-sections for the participants of this study were those participants in positions of direct influence on apparel product development. Analyzing the perceptions of the participants from the cross-sections in detail, inferences were made about the industry definition and method of copying, time of occurrence, and those most likely involved in decision making. The instrument for the study was an online survey with open-ended questions and fixed-response questions. Of the 20 participants, 11 accessed the survey with 10 choosing to participate. While some degree of similarity was observed in several of the definitions of copying, such as taking existing products to create new products, there was distinction when participants used phrases such as copying 'without changing anything' to 'copying the idea and concept.' Participants' definition of knocking-off can be summarized as a copy with variation in price point. Participants noted that the process of counterfeiting was an unauthorized or illegal copy of a product and often included copying labels or logos. Key reasons for copying products were reported as following trends and speed to market. / Ph. D.

Yes / This article explains how the library developed a glossary of words to help the international students use the library. It is called Library language: words and definitions.

Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll. / It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.

This thesis examines in four parts a collection of philosophical arguments dealing with war. The conclusions drawn are that war is a definable and applicable concept, that above the level of biological reactions war is the result of beliefs, that an objective distinction exists between aggressive and defensive actions, and that war is only justifiable in the protection of core rights. The first part analyses competing definitions of war. It is argued that the concept of war is philosophically appropriate and captures the conceptual common denominator between particular wars. The essence of war is defined as “a condition of open-ended violence”. Part Two explores the causal relationships between metaphysical and epistemological beliefs and war. It is held that war cannot be explained away as an unalterable fact of the universe, hence deterministic explanations fail in favour of the conclusion that wars are the product of ideas and ideas are volitionally obtained. The third part continues an exploration of determinist accounts of war and examines how various theories of human nature attempt to explain why war occurs. For methodological purposes human nature is trisected into biological, cultural, and rational aspects. Theories that attempt to interpret war using only a single aspect are inadequate, for each aspect must logically presuppose the existence and hence the influence of the others. It is concluded that human wars are the product of ideas, but ideas are distinguishable between tacit and explicit forms. Tacit forms of knowledge evolve through social interaction and sometimes have unintended consequences; war on the cultural level can be the product of human action but not of human design (Ferguson), hence attempts to abolish war by reason alone are bound to fail. Part Four assesses the application of ethical and political reasoning to war. It is argued firstly that morality, in the form of universalisable core rights and socially generated general rules of conduct, must not be removed from the sphere of war. Secondly it is concluded that the ideal just government exists to protect rights, from which it will follow that defensive wars and wars of intervention to protect rights are morally supportable.

One hundred and fifty-five Texas juries were examined to determine the sex of the person elected foreman. Because the role of the foreman is traditionally a male role and a leadership role, it was hypothesized that few women would strive for the position of foreman and that few would be elected to it. It is believed that the proportion of women foremen is a reflection of lack of achievement orientation (or learned helplessness) on the part of women in this situation, and of the degree to which members of the group have internalized the concept that women are less competent than men for a traditionally male leadership role. Of the 155 foremen only 14 were women, a finding which is significant at the .00001 level.

Anti-malware companies analyze large number of files every day. In order to speed up their analysis, many automatized tools were implemented. Detection definitions that detect malicious software are often generated automatically. Information about currently spreading malware is scattered across several tools and they are sometimes too generic. This work proposes a new tool that will aggregate, prioritize, and evaluate all the available information. Due to large amount of incoming data, high performance and scalability of the system is necessary. Files, detection definitions, and other objects will be tagged using the given information directly or inferred. Collected information will be accessible via interface for further analysis and statistics. Everything was implemented, tested and put into production.