Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.

This thesis aims to answer the question of how the library is represented in the Librarian franchise, not only focusing on the films/tv-series but also how it is represented in print. The analysis of the library representation uses a background of the theory and method found in semiotics and iconography, as well as qualitative content analysis, to examine not only the literal/denoted representation, but also the symbolic/connoted, and then compar-ing these findings to the representation of libraries and librarians (with a focus on the stereotypes) found in former research on the subject. The libraries depicted in this franchise all adhere to the stereotypes in some ways, especially the grandeur or spaciousness, at times labyrinthine but there is always someone experienced to ask to help find what you are looking for. The library is represented in a positive light, it is not a place to be feared, it is a place of knowledge and adventure. The characters see these libraries as home or as a social “hub” for the community, they are signs of safety, comfort, and peaceful entertainment. A world without libraries is depicted as a dystopian nightmare. In the franchise there are some characters that can be interpreted as personification of the Library, in this thesis I am focusing on Judson, Charlene, and Ray (the spirit of the library), all of which embody several of the librarian stereotypes, such as intelligence and order, these characters signify in various ways how much the library depends on librarians. In conclusion, this franchise, although unrealistic, shows that the library does not have to be a boring place, and neither does the librarian profession. This is a two years master’s thesis in Library and Information Science. / Målet med denna uppsats är att besvara frågan hur biblioteket representeras i Librarian-franchisen, inte bara hur det representeras i filmerna/tv-serien men också hur det representeras i de tryckta berättelserna. I analysen av biblioteksrepresentationen använder jag mig av teoretiska utgångspunkter och metodik från semiotik och ikonografi samt kvalitativ innehållsanalys, för att utforska både den bokstavliga/denoterade representationen och den symboliska/konnoterade, och sedan jämföra resultatet med hur tidigare forskning beskrivit biblioteks- och bibliotekarierepresentationen (med fokus på stereotyper) i fiktion. Alla biblioteken som representeras i denna franchise kopplas till viss del ihop med biblioteksstereotyperna, speciellt prakt och rymlighet, och ibland även labyrinter men det finns alltid någon erfaren att fråga om hjälp för att hitta det du söker. Biblioteken är positivt representerade i denna franchise, biblioteket är inte en skrämmande plats, det är en plats som symboliserar kunskap och äventyr. Karaktärerna ser biblioteket som ett hem eller ett socialt nav, biblioteket symboliserar säkerhet, bekvämlighet och stillsam underhållning. En värld utan biblioteken representeras i serien som en dystopisk mardröm. I denna franchise går det att finna några karaktärer som inte bara är bibliotekarierepresentationer men också agerar som personifikationer av biblioteket, i denna uppsats har jag valt att fokusera på Judson, Charlene och Ray (bibliotekets ande), som alla faller in i flera bibliotekariestereotyper, exempelvis intelligens och ordningsamhet. Dessa karaktärer signifierar även på olika sätt hur mycket biblioteket är beroende av bibliotekarier. Slutligen visar denna franchise, trots dess surrealism, att biblioteket inte måste vara en tråkig plats, och bib-liotekarieyrket behöver inte heller vara tråkigt. Detta är en två års masteruppsats i biblioteks- och informationsvetenskap.

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Architecture and Film - A Symbiotic Relationship. This project is not intented to be revolutionary, but rather exploratory. To delve deeper into ones interests and better understand them. My architectural studies are five years young, and my passion for film has been with me for as long as I can remember. That is why I see my diplomaproject as an opportunity to bring both worlds that fuel my creativity together. I do not see myself as an architect without being a filmmaker and I cannot create worlds as a filmmaker without exploring architecture. An anomaly was detected in the northern region of Europe. Satellite images show an island not included in any of our maps on which monolithic structures are resting. The clean geometry and the elusive dimensions show monuments difficult to specify in time. These monuments seem ancient, but they are not primitive. They show advanced knowledge of our celestial bodies from however long ago. These are The Monuments of The Ones Before. Once, before our time. To you the reader: We have made a startling discovery. This is the birthplace of astronomy.

La thèse analyse les représentations du mythe de Cérès, déesse romaine de l’agriculture et le faisceau d’idées qu’il concentre dans l’imaginaire collectif de la première modernité, le choix a été fait d’étudier sa représentation dans des contextes géographiques différents, selon un axe chronologique allant de ses premières résurgences dans l’art et la littérature du XVe siècle, où se cristallisent en Italie la plupart des significations allégoriques et symboliques qui lui sont associées, à la première moitié du XVIIe siècle lorsque s’annoncent les prémices d’un changement de paradigme et, surtout, se confirment les effets de la Contre-Réforme et du Concile de Trente sur les œuvres à thématique païenne. Des œuvres réalisées sur différents supports (tableau, fresque, gravure, manuscrit, incunable, objet du mobilier, médailles) seront ainsi convoquées et interrogées à l’aune des sources littéraires employées par les artistes et de leur contexte de production. Le corpus analysé se divise en trois parties qui correspondent aux grandes thématiques abordées dans la thèse : l’abondance, la fertilité, ainsi que les relations entre Cérès et le christianisme. Les deux premiers thèmes relatifs à la prospérité et à la fécondité reprennent les principales propriétés attribuées à Déméter-Cérès depuis l’Antiquité, tandis que le troisième thème s’attache à retracer les rapports entre la tradition figurative que l’on nommera « démétriaque » et l’imaginaire chrétienne, à travers l'étude d'œuvres qui, dans certains cas, ont été produites par le même artiste. / This thesis analyses the representations of the myth of Ceres, the Roman goddess of agriculture, and the bundle of ideas it concentrates in the collective imagination of early modernity. In different geographical contexts, the representations of the myth are investigated along a chronological axis ranging from the first revivals in art and literature in the 15th century - when most of the allegorical and symbolic meanings associated with it crystallize in Italy - to the first half of the 17th century, when the first signs of a paradigm shift began to appear and, above all, the effects of the Counter-Reformation and the Council of Trent on works with pagan themes were confirmed. Works of various kinds (paintings, frescoes, engravings, manuscripts, incunabula, ornaments, and medals) will be examined considering the literary sources used by the artists and the context in which they were produced. The corpus analyzed is divided into three parts, which correspond to the major themes addressed in the thesis: abundance, fertility and the relationship between Ceres and Christianity. The first two themes, abundance, and fertility, concern the main properties attributed to Demeter-Ceras since antiquity, while the third theme focuses on the relationship between the figurative tradition we will call 'demetriac' and Christian figurative imagery, through the study of works that, in some cases, were produced by the same artist.

Religion is a broad topic and serves as a great foundation for narratives in severallarge game titles. In this study we investigate how to create game assets with a religiousconnotation to build the feeling of an existing religion within the game. Using our previousproject, Martyr of Carnage (Studio F15, 2024), as a foundation, our goal is to have playersperceive a religion without a clear association to any real-world belief systems. To achievethis, we mainly investigated semiology, ritual theory, diegetic sound, and symbolism andiconography. During the iterative design process of our three prototypes, each tested by acontrol and randomised group of play testers, we focussed on asset creation, visual andauditory communication, and narratively valuable mechanics, while staying within theboundaries of non-verbal communication. We conducted surveys and interviews incombination with playtesting for data gathering. As a result, we found the importance ofconsidering immersion, contextualization and white space when attempting a study of thiskind.

This study aims to explore the mosaics in the Sala delle Palestrite at Villa Romana del Casale in Piazza Armerina, Sicily. These mosaics depict women wearing garments that resemble modern bikinis. However, upon closer examination of the roles of these ten women, it becomes evident that their attire is a form of Roman underwear, worn in an athletic context. Rather than being bikini-dressed figures, the women in the mosaic are athletes engaged in various sports activities from both ancient Greek and Roman cultures. The concept of aretḗ, which celebrates the ideal combination of strength, beauty, and harmony, often explains why Greek athletes are depicted nude. In contrast, the clothed female athletes in the mosaic suggest a different interpretation of female aretḗ, highlighting a paradox between the ideal representations of male and female athletic bodies. This depiction may however also signal an increase in women's autonomy during the 4th century AD, possibly resulting from broader cultural and social changes that reduced restrictions on women during this period. Furthermore, this study argues that these female athletes embody not only progressive but also aristocratic values. The mosaic reflects the upper class's interest in using artistic expressions to convey social status and intellectuality within their homes. With the increased social freedoms of the period, including women's rights to own land, the mosaic could represent the villa's domina attempt to portray a new image of women, diverging from traditional roles. Although the mosaic indicates greater social freedom for aristocratic women, it also reveals the persistence of traditional values in its stylistic expression. Given the historical association between women, fertility, and physical activity, the athletes' bodies might serve to communicate female aretḗ, often linked with fertility and reproduction. Alternatively, this could also highlight a recurring issue in art history; the limited representation of the female body, especially in contexts like athleticism, which did not conform to traditional portrayals of women. In conclusion, the mosaics offer a complex portrayal of female athletes that reflect both progressive and traditional values, illustrating broader social changes and the evolving roles of women in ancient society. It is thus unique evidence of the early female liberation.

The Order of the Seraphim is Sweden's foremost order of chivalry and is conferred upon members of the Swedish Royal House, foreign heads of state or individuals of equal merits. Each new knight of the order is expected to submit a proposal for a heraldic coat of arms, a Seraphim Coat of Arms, which is then painted. Heraldry has traditional and often strict rules, and the sole function of a coat of arms is to identify its owner. However, this does not prevent a coat of arms from conveying idea-content, such as specific messages and identities. This essay is a qualitative analysis of the Seraphim Coats of Arms of Finnish and Icelandic presidents, where the aim is to analyze symbols and idea-content, heraldic style as well as style development and national differences. The investigation analyzes the Seraphim Coats of Arms of eight Finnish presidents and five Icelandic presidents between the years 1925 and 2018. The essay employs semiotics as its theoretical framework and iconographic and iconological analysis as method. The results show that the weapons not only identify their owner, but also convey messages and identity – idea-content that can be intentional, but not always obvious. Symbols, idea-content and heraldic style vary. The majority represent the office of president and national symbols, such as the flag or coat of arms of the country. The Seraphim Coats of Arms of the Finnish presidents, with few exceptions, follow the strict tradition of heraldry and are generally archaically simple in their design. Among Finnish presidents, for example, policies and statements are more frequent, where the image of the president as a unifying figure is conveyed in the coats of arms. The coats of arms of the Icelandic presidents are more varied in both idea-content and style. In both countries there are examples of canting arms, arms that represent the bearer's name. The coats of arms of the Finnish and Icelandic heads of state represent a distinct heraldic time frame. The Finnish arms cover a period of just under a century, the Icelandic somewhat shorter. Together they form a unique insight into Nordic heraldry for almost 100 years.