The purpose of this research was to determine whether there were biases among funeral home and cemetery professionals with regards to hiring mortuary science graduates with tattoos. An anonymous survey including a photograph of either a male or female with various degrees of visible body art, ranging from none to extreme, was sent to 1484 members of the International Cemetery, Cremation and Funeral Association. The primary methodology used to determine whether biases existed regarding visible body art were a semantic differential and a hireability scale. The survey was designed to gather information related to the following three research questions: 1. What are employers’ perceptions regarding hireability of individuals based on extent of visible body art? 2. Are there differences in the employers’ perceptions regarding visible body art based on the gender of the individuals in the photographs? 3. What are the differences in perceptions regarding visible body art based on respondent age, gender, and their own extent of visible body art? Of the surveys distributed, responses totaled 151. Due to incomplete information, 74 were discarded. The number of surveys used in the analysis was 77. Results indicated no specific biases of employers' perception towards potential hirees with body art. These results were based on multiple categories, including age and gender of respondent, extent of body art of respondent, and respondent position within their companies. Although the responses were neutral and showed no significant bias towards hirees with body art, mortuary science students should be aware of potential biases of the families served by the funeral homes, including age of the deceased and family members, as well as the conservative nature of the funeral profession.

Advances in cybernetic and nanotechnological body modifications currently allow for enhancements to human physical and mental function which exceed human species-based norms. This thesis examines body modification and human enhancement from two perspectives—Roman Catholicism and Transhumanism— in order to contribute to bioethical deliberations regarding enhancement technologies. Roman Catholicism has a longstanding tradition of bioethical discourse, informing the healthcare directives of Roman Catholic institutions. Transhumanism is more recent movement that endorses body modifications and human enhancements as a means of individual betterment and social evolution. The thesis first considers definitions of human enhancement and levels of normalcy in connection to cybernetic and nanotechnological bionic implants, and outlines a series of criteria to assess a technology’s potential bioethical acceptability: implantability, permanency, power, and public interaction. The thesis then describes Roman Catholicism’s response to non-enhancing decorative body modifications (cosmetic surgeries, common decorative modifications such as tattoos and piercings, and uncommon modifications such as scarifications and brandings) in order to establish a basis for possible Roman Catholic responses to enhancing cybernetic and nanotechnological modifications. This is followed by an analysis from a Roman Catholic perspective of the major social issues brought forward by enhancement technologies: commodification, eugenics, vulnerability, and distributive justice. Turning to Transhumanism, the thesis describes the origins and philosophy of the movement, and then discusses the bioethical principles it advances with regard to human enhancement. The thesis concludes by locating points of convergence between Transhumanism and Roman Catholicism that could be the basis of more widely accepted ethical guidelines regarding modification technologies.

Syftet med den här uppsatsen är att undersöka hur parallellklippning påverkar tittarensupplevelse av händelseförloppet från en filmscen. Analysen gjordes på filmerna Män somhatar kvinnor (2009) och The Girl with the Dragon Tattoo (2011) eftersom de innehållersamma berättelse. Scener valdes ut då den ena filmen använt sig av parallellklippning och denandra inte gjort det. En parallellklippt scen från båda filmer jämfördes också för att undersökamöjliga skillnader i hur klipptekniken användes i scenen. Med Gillian Roses ”kompositionstolkning” blev ett urval av scenernas visuella komponenter tolkade och genom Walter Murchs”The Rule of Six” analyserades klippteknikens inverkan på upplevelsen. Resultaten visade attparallellklippning införde en ny struktur av scenen för att föra berättelsen framåt ochkaraktärer fick en ökad eller minskad närvaro i scenen. Dessa ändringar hade förutsättningarför att påverka tittarens engagemang i karaktärerna eller handlingen och därpå upplevelsen avhändelseförloppet.

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The diploma thesis "Body art - the functional and symbolic meanings of tatoo and piercing" focuses on body modifications that are used as body art and which have become fashionable as a cultural and social phenomenon in the contemporary society. First part of the thesis introduces a basic theoretical framework and sets the subject into the context, which the author presents in such a way that even a laic can benefit from the paper. Theoretical part defines the terms and introduces first archeological findings connected with this cultural phenomenon. Further on the paper introduces examples of body art from selected traditional cultures and describes the way, which this phenomenon undertook to the contemporary western society. At the end of the theoretical part categories of functional and symbolic meaning, which the body art can acquire, are introduced. Second part presents qualitative research that focuses on functional and symbolic meanings, that the body art in contemporary society acquires. Statements of twenty-two people who talk about their body art can be found here. At the end of the paper you will find out which functional and symbolic meanings of body art are the same among the contemporary society and the primitve one, how do they differ or which functional and symbolic meanings have vanised...

Tattooing has persisted across time and space, often developing across ancient civilizations, even before cross-cultural contact. With the current oldest verified tattoos on the mummified body of Ötzi, the 5,300-year-old Tyrolean Iceman, up to current-day tattooing, a variety of uses and meanings have been ascribed to the practice. A majority of anthropological research has been dedicated towards indigenous tattooing traditions, external perceptions of marked individuals, and tattooing's deviant associations. Only a marginal amount of work has been geared towards the internal perceptions and cultural structuring of tattoos within modern societies, especially in the West. Frequently, a ‘tattoo community' is assumed in both daily conversation and academic publications. Yet surprisingly, the small amount of research that sets out to test for the possibility of a unique community structured around tattoos cannot come to an agreement on what the current social configuration surrounding Western tattooing is. This thesis sets out to investigate if there is such a community, or if such a group fits a different social figuration instead. Due to constraints brought on by COVID-19, it has been adapted to become an in-depth literature analysis with emic input from materials published from within the tattoo industry. This study also primarily focuses on North America, but does include international resources due to the high level of cross-cultural input historically and contemporarily. With a blending of insider and outsider resources, I intend to provide the most comprehensive compilation of possible social configurations theorized across disciplines, along with theorizing as best within my abilities the possible nature of a universal tattoo group in North America in my Honors Undergraduate Thesis.

Indiana University-Purdue University Indianapolis (IUPUI) / Tattoos, a permanent body modification that has frequently been associated with deviance and lower class sub-cultures, have become increasingly popular in the United States since the early 1990’s. In my thesis I examine the shared worldviews of individuals who obtain tattoos by conducting an analysis of six internet communities that promote this sub-culture in order to understand how cultural influences provide the impetus to create self-identity through inscribing the body. I will argue that individuals who commit to a permanent tattoo may be motivated by the need to create self identity.

This thesis explores the role of Euromerican maritime tattoos in Herman Melville’s early sea fiction. Through layers of historic and scholarly obfuscation, Euromerican maritime tattoos have been delimited to a marginal role in the cosmopolitan shipboard culture of 19th-century Pacific whaling and trade networks. This project extracts and contextualizes that cultural practice as formative in the creation of sailors’ hybrid embodied identities. With this intervention in mind, Euromerican maritime tattooing emerges as a small but important feature in Melville’s first six books. Probing issues such as race, class, slavery, and colonialism, this project deploys an intimate reading practice, which seeks to engage Melville from within the text. Tattoos serve as a symbol by which he grapples with larger social formations. Through prolonged engagement with marked bodies, Melville unfurls a cast of characters who demonstrate how identity is shaped by the various domineering axes of modernization. He also reveals how a series of interconnected and somewhat autobiographical first-person narrators strive to find embodied alternatives to the violent forms of exploitation alive in the colonial Pacific and interconnected 19th-century global shipping networks. Ultimately, this project seeks to think, feel, and read alongside Melville to gain insight into how he made sense of the world. Through the lens of tattoos in his early sea fiction, Melville reveals the power of interrelation, the human potential to defy subjugation, and charts a path toward new social embodiments. Disclaimer: The views expressed in this thesis are those of the author and do not reflect the official policy or position of the United States Air Force, United States Space Force, Department of Defense, or the U.S. Government.

A review of the literature reveals a high incidence of body-image distress among breast cancer survivors who have undergone surgery, which is a natural response to the significant changes in their appearance. Reconstructive surgery, utilizing implants or flaps, may be employed to restore breast size and shape. Medical tattooing can simulate the nipple-areola complex and decorative appliques can conceal scars and skin color variations. Both reconstructive surgery and medical tattoos are associated with patient-reported satisfaction, yet further research is necessary to understand their combined impact on body-image distress. To investigate this, a survey was distributed among national breast cancer support groups and advocacy organizations, yielding 207 responses from individuals meeting the study's criteria. The participants were categorized into two groups: those who received a post-surgical medical tattoo (n = 61) and those who did not (n = 146). The study also examined how participants evaluated the cosmetic and decision satisfaction of patients who made various cosmetic intervention choices post-mastectomy. This was accomplished by having participants rate images of patients who had received three types of intervention: mastectomy and reconstruction only, mastectomy and medical tattooing only, and mastectomy, reconstruction, and medical tattooing. Using linear regression and multilevel modeling that controlled for demographic and clinical factors associated with body-image distress, the findings demonstrated that participants with medical tattoos reported significantly lower levels of body-image distress, depressive symptoms, and perceived stress compared to those without medical tattoos. Furthermore, participants rated images of patients who underwent both reconstruction and medical tattooing post-mastectomy as having significantly higher cosmetic and decision satisfaction ratings than images of patients who received reconstruction or medical tattooing alone.

How loud is todays movies? I have been investigating the differences between loudness in American and Swedish flm making. Also, what difference does variation depending on country of distribution, language spoken and audio formats make? I applied the loudness levelling standard EBU r128 as take-off point for my study as I believe it will be the standard for how future audio tracks will be played and mixed.