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Cloud-based collaborative editors enable real-time document processing via remote connections. Their common application is to allow Internet users to collaboratively work on their documents stored in the cloud, even if these users are physically a world apart. However, this convenience comes at a cost in terms of user privacy. Hence, the growth of popularity of cloud computing application stipulates the growth in importance of cloud security. A major concern with the cloud is who has access to user data. In order to address this issue, various third-party services offer encryption mechanisms for protection of the user data in the case of insider attacks or data leakage. However, these services often only encrypt data-at-rest, leaving the data which is being processed potentially vulnerable. The purpose of this study is to propose a prototype software system that encrypts collaboratively edited data in real-time, preserving the user experience similar to that of, e.g., Google Docs.

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Currently there are not a lot of code editors specifically designed to teach introductory programming via collaborative programming. In this paper we create MarveCode which is a collaborative coding editor written in javascript using Marvejs. Marvejs is a DUI framework which allows for the distribution of dom elements between several clients. MarveCode is meant to aid in introductory coding classes making it easy for groups of students to work on a problem together. The other purpose of this thesis is to investigate any problems with Marvejs and to see if any improvements can be made. In order to figure out what improvements can be made to Marvejs we will stress test our implementation of MarveCode by simulating users joining and writing code. We will then investigate network traffic and general performance issues in MarveCode and in turn Marvejs.

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<p>Poetry magazines are a reflection of the trends and the pressures of their ages: such was the case with Howard Sergeant's Outposts. Howard Sergeant was the longest continuous editor of a single literary magazine in the English language. Founded in 194) under the pressures of the Second World War, Outposts continued under his editorial direction until ill-health forced him to relinquish the reins in 1986.</p> <p>Between 1944 and 1986, Sergeant and Outposts played a key role in many of the major trends, groups and movements that shaped modern British poetry. Begun as a poetry and critical journal with a wartime "Apocalyptic'' slant, Sergeant's Outposts evolved through the changes which encompassed the Nee-Romantics, the Personalists, The Movement, the Mavericks, The Group, the pop poets, and the Martians and Narrative poets of the Eighties.</p> <p>Sergeant was among the first to recognize these changes in British poetry, and his magazine is a crosssection of the currents and counter-currents of the period. His major accomplishments include the founding of the British Poetry Association with Dorothy Wellesley and Siegfried Sassoon, his recognition and promotion of Commonwealth poetry (which launched the first Commonwealth movement in Britain), and his support of poets in the earliest stages of their development as a judge for the Gregory Awards with Herbert Read, T.S. Eliot, Henry Moore, and Philip Larkin. Among the key figures whose relationships to Sergeant are discussed are Muriel Spark, Earle Birney, Kingsley Amis, Seamus Heaney, Peter Redgrove, Dannie Abse, and D.M. Thomas.</p> <p>Set in the context of forty years of highly charged activity on the British poetry scene, Sergeant's story is one of prudence, critical intelligence, and perseverance. As a poet, editor, and critic, Sergeant's role in British poetry is examined and discussed, and his contributions to the art are weighed against the achievements of those he assisted.</p> / Doctor of Philosophy (PhD)

[EN] This thesis provides an analysis of the different graphic art production areas in Spain, in 2014. Firstly, we review the concept of graphic work, multiplicity, and editing, as well as the role of responsible individuals involved in the production of graphic art: editor, technical printer and artist, through the study of remarkable personalities. Secondly, we explore the different graphic works workshop production classifications, as well as their design and structure, according to their specialization process. This thesis follows with a panoramic and historical view of graphic art creation and production establishments, analyzing international draft reference spaces, finishing with the study of different models of workshop in Spain, today. These workshops are sorted into the following categories: training, new technologies research workshop, development projects in residence workshop, creation and artistic experimentation workshop, desktop publishing workshop, prints by custom production workshop, edition of artists workshop and workshop as a multipurpose space. This work is complemented by a updatable directory of graphic art's creation, education, production and editing spaces in Spain, a practical guide for artists, printers, publishers, students, teachers, and anyone interested in graphic art. / [ES] La presente tesis ofrece un análisis de los diferentes modelos de espacios de producción de arte gráfico en España, en 2014. En primer lugar, se revisa el concepto de obra gráfica, multiplicidad y edición, así como el papel de las figuras responsables que intervienen en la producción de arte gráfico: editor, técnico impresor y artista, a través del estudio de personalidades destacadas. En segundo lugar, se exploran las diferentes clasificaciones del taller de producción de obra gráfica, así como el diseño y estructura del mismo, de acuerdo a su especialización procesual. A continuación, se presenta una visión panorámica e histórica de los establecimientos de creación y producción de arte gráfico, analizando espacios de referencia de calado internacional, concluyendo con el estudio de los diferentes modelos de taller presentes en España, en la actualidad. Éstos se ordenan en torno a las siguientes categorías: el taller de formación, el taller de investigación de nuevas tecnologías, el taller de desarrollo de proyectos en residencia, el taller de creación y experimentación artística, el taller de autoedición, el taller de producción de obra gráfica por encargo, el taller de edición de artistas y el taller como espacio polivalente. Este trabajo se complementa con un directorio de los espacios dedicados a la creación, enseñanza, producción y edición de arte gráfico en nuestro país, una guía práctica para artistas, impresores, editores, estudiantes, docentes, y todo aquel interesado en arte gráfico, abierta a futuras actualizaciones. / [CA] Aquesta tesi ofereix una anàlisi de les diferents zones de producció d'art gràfic a Espanya, el 2014. En primer lloc, podem revisar el concepte d'obra gràfica i multiplicitat, edició, així com el paper d'encarregat figures que intervenen en la producció de arts gràfiques: editor, impressora tècnic i artista, mitjançant l'estudi de la personalitat. En segon lloc, podem explorar les diferents classificacions de dramatitzada d'obres gràfiques, així com el disseny i estructura, segons el seu procés d'especialització. A continuació, és una visió panoràmica i històric de creació i producció d'establiments d'arts gràfiques, analitzar espais de referència de calat internacional, concloent amb l'estudi de diferents models de taller d'Espanya, avui. Aquests es classifiquen en les categories següents: formació, investigació de noves tecnologies taller, taller de projectes de desenvolupament en residència, taller de creació i experimentació artística, autoedició taller, taller de producció de gravats de costum, edició del taller d'artistes i taller com a espai polivalent. Aquest treball es complementa amb una guia dels espais dedicats a la creació, formació, producció i edició d'art gràfic en el nostre país, una guia pràctica per a artistes, impressores, editors, estudiants, professors, i qualsevol persona interessada en l'obra gràfica, obert a futures actualitzacions. / Matute Marín, J. (2016). El taller de arte gráfico. Modelos de producción de arte gráfico en España 2014 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61767

在「設計易調整的電子病歷存取控管機制」論文中，針對病患隱私的保障，設計了一套XML格式的存取控管規則語言，讓安全管理者可以藉由設計安全組態檔，動態並細緻化地切換電子病歷的存取控管程式碼。根據前述論文的需求，我們建構出一套可融合於Eclipse開發平台中的存取規則編輯環境。除了具備XML編輯器的基本功能外，我們的編輯環境針對此存取控管規則語言提供使用者自訂屬性與規則變數的機制，以半自動化的方式免去記憶屬性值的困擾；並在存取規則的限制條件編修畫面當中，加入語法解析功能與基本格式驗證功能，協助使用者編輯限制條件，早期發現錯誤，大幅簡化安全管理人員設計存取控管規則的工作。 / This thesis presents a Configurable Editor for Specifying Access Control Rule in Electronic Medical Records based on the XML rule schema designed in another thesis, "Using Aspects to Implement Adaptable Access Control for Electronic Medical Records". Our editor is developed as a plug-in in the Eclipse development platform. It has three distinguished features. First, the user can configure the specific attributes and rule variables referenced in the rule schema and rule instances. Second, the user can edit access control rules as any XML documents and view the rules in multiple views, such as tree view. Third, the editor performs static checks on the constraints specified in the rules to provide early error detection. Thus, we argue that the editor will of significant help to the security administrators.

Submitted by Danielle Rosa Paul (danielle.paul@hotmail.com) on 2015-10-22T13:35:35Z No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2015-10-26T12:49:19Z (GMT) No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-11-11T17:24:38Z (GMT) No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) / Made available in DSpace on 2015-11-11T17:24:58Z (GMT). No. of bitstreams: 2 VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) VERSÃO FINAL PARA BIBLIOTECA.pdf: 1860887 bytes, checksum: 28d73788be7daa2046093b151f998e4a (MD5) Previous issue date: 2015-09-30 / The following work addresses the editorial policies of Jorge Zahar, specifically from 2001 to 2014, discussing the challenges faced by this publishing house that has built the brand through the ideal of publishing books that remain on the market over time. The study presents its history, since the foundation as 'Zahar Editores', in the 1950s, describing the editorial proposals on the context of specific social and marketing situations. Some critical moments were highlighted, when both the editorial policies and the company's management structure were reassessed, resized, establishing a period of major changes. That said, this work aims to analyze different Zahar’s catalogs: one of the 1985 period - when the publisher house started to be managed by Jorge Zahar and his children - and the ones from 2001 to 2014, noticing the aspects of changes and similarities between all the catalogs and the editorial fund. The categories 'independent' and 'classical books' have been identified as strategic elements in the self-conception and external identification of the publishing house, pointing its perception of books as cultural assets, as well as the role of the editor as a cultural agent. The performance of Zahar has been challenging two types of diagnostics in the common sense and even in the academic literature. The first is that publishers need to invest in books that quickly reach high sales levels, even if they don’t last too long, in order to ensure profitability and presence in the market. The second is that, in general, small and medium publishing houses, still autonomous, tend to sell their copyrights to the largest and most capitalized companies, once they have to face the aggressive marketing policies of these organizations. The research findings suggest that Zahar has insisted on maintaining their self-identification as a publishing house of classical books, directing their editorial policies to the publication of materials that last longer, demonstrating that it is possible to follow their own path in terms of emphasizing the unique role the editor, marked by independence in choosing what, how, when and how many publications - and retaining its place in the market. / O presente trabalho versa sobre as políticas editoriais da Jorge Zahar Editor, em especial de 2001 a 2014, discutindo os desafios enfrentados por uma editora que construiu sua marca através do ideal de publicar livros que se mantivessem no mercado editorial ao longo do tempo. Foi apresentado um histórico da editora, desde sua fundação, como Zahar Editores, nos anos 1950, descrevendo as propostas editoriais situadas em conjunturas sociais e mercadológicas específicas. Detectaram-se alguns momentos críticos, em que tanto as políticas editoriais quanto a estrutura de gestão da empresa foram reavaliados, redimensionados e sofreram mudanças importantes. Analisaram-se diferentes catálogos da Zahar: o de 1985, período em que a editora passou a ser gerida por Jorge Zahar e filhos, e os de 2001 a 2014, observando o que neles permaneceu dos anos 1980 e também as transformações e permanências do fundo editorial entre os anos 2001 e 2014. As categorias 'independência' e 'livros clássicos' foram identificadas como elementos discursivos estratégicos na auto-concepção e identificação pública da editora, apontando sua percepção dos livros como bens culturais, bem como da função do editor como agente cultural. A performance da Zahar tem desafiado dois tipos de diagnósticos difundidos no senso comum e mesmo na literatura acadêmica. O primeiro é que as editoras precisam publicar livros que alcançam alta vendagem rapidamente, mesmo que eles tenham uma sobrevivência efêmera, como forma de garantir sua lucratividade e sobrevivência no mercado. O segundo é que as editoras, em geral, pequenas e médias, ainda autônomas, tendem a precisar vender seus direitos para empresas maiores e mais capitalizadas, pois não terão como enfrentar as políticas mercadológicas agressivas dessas organizações. As conclusões da pesquisa sugerem que a Zahar tem insistido na manutenção de sua auto-identificação como editora de clássicos, direcionando suas políticas editoriais para a publicação de livros que tenham longa duração, demonstrando que é possível seguir um caminho próprio, em termos de exercício da função própria do editor, marcada pela independência na escolha do que, como, quando e quanto publicar – e conservar seu espaço no mercado.

This thesis deals with the design and implementation of the document modifications and another annotation editor improvements developed as the part of the Decipher project. Explains the nature of the Decipher project and the inclusion of annotation system 4A in this project. It examines the annotation editor and propose solutions to problems and adding new functionality which makes it easier to work with annotations and also with editor itself.