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This thesis will identify what is particularly unusual about the funerary scenes of the eighteenth-dynasty Theban tomb (TT 139) and their chosen location by providing a thorough examination of both the life of the tomb owner, Pairy, and his tomb architecture. Following a discussion of the significance of the tomb chapel's decorative program, I will argue that the abbreviated scenes on two walls adjacent to the passageway to the burial chamber relate to the tomb owner’s safe journey into the underworld. Due to the lack of recent published work on the chapel hall and the deterioration of its paintings, the tomb of Pairy is in dire need of proper, comprehensive study.

Background Brand managers often use brand extension as a “lower” risk alternative when introducing new products. A lot of research has been conducted about brand extensions but mostly focusing on fast moving consumer goods, therefore ignoring the impact that this strategy carries on experience goods and more precisely, the video game industry. Video games have turned from a niche product to a global billion dollar market in which brand extensions are a common marketing strategy. There are several examples of both successful and failed brand extensions in the video game industry. Purpose The purpose of this thesis is to identify brand extension success factors in the videogame industry  and how important these factors are for the consumers, a model will be created to test the obtained results; further on the authors will look at different segment of gamers and how the importance of the identified factors differ among them. Method In order to analyze the level of importance that video game users give to the brand extension success factors, an online questionnaire was created with Likert Scale questions to measure each factor. Descriptive statistics, linear regression analysis, Kruskal-Wallis and Mann-Whitney U test were utilized to analyze the results of the questionnaire and to identify differences between the responses of different type of video game users. A second identical questionnaire was distributed only to Tomb Raider users in order to create a model which gave each factor a score depending on the results of the questionnaire and weighted their positive or negative influence into the likelihood of success of each of the Tomb Raider games; the purpose of the model is to predict if each game could be considered a success or not and then compare the prediction with the real outcome of each game in the Tomb Raider series. Conclusion The most important factors for the success of a brand extension in the video game industry are the factors game-play, the brand extension quality as perceived by the users and the factor storyline. On a lower level of importance, the gamers classified the parent brand quality by users and the factors audio, graphics, developer and genre. The lowest category of importance includes the quality as perceived by the critics of the parent brand and the brand extension, the parent brand awareness and the factor multiplayer mode. Finally the survey showed that the cultural familiarity, the factors publisher and rating, and the marketing campaign for the brand extension are not important for the gamers. A second survey was conducted exclusively with Tomb Raider users in order to create the model and the results for this second survey were the same as the one targeted to general gamers, which allows the possibility to generalize the results of the model. The findings of this thesis can help members of the video game industry to better allocate resources towards the factors that most influence the brand extension success.

Scholars Gary Habermas and Michael Licona have created a research approach to study the historicity of Jesus’s resurrection called “historical bedrock.” This approach seeks to gather highly attested information about the Easter events that are agreed upon by the majority of scholars and then use this information as a starting point in studying the resurrection. A piece of information noticeably missing from the historical bedrock list is the empty tomb. By using the empty tomb as a case study, this thesis is a critical analysis of Habermas and Licona’s historical bedrock approach. In it, I propose that historical bedrock be amended to what I call “baseline information.” Baseline information differs from Habermas and Licona’s approach in that less emphasis is placed on the role of scholarly consensus and the title does not convey the notion that the data within it is unquestionably historical. / Thesis / Master of Theological Studies (MTS)

This thesis concerns the factors underlying the popularity of the cliff tomb, a local burial form in the Sichuan Basin in China in the Eastern Han dynasty (AD 25-220). The development of the cliff tomb was held in a complex set of connections to the development of the burial forms, and existed through links to many other contemporary burial forms, the brick chamber tomb, the stone chamber tomb, and the princely rock-cut tomb. These connections and links formed to a large extent through the incorporation of the Sichuan area into the empire which began in the fourth century BC. It was in this context, a series of factors contributed to the formation and popularity of the cliff tombs in Sichuan. The hilly topography and the soft sandstone, easy to cut, provided the natural condition for the development of the cliff tombs. The decision to make use of this natural condition was affected by many factors rooted in the social background. The inherent nature of the cliff tomb structure was fully explored, which was then followed by a series of corresponding innovations on the pictorial carvings and the burial objects. The meaning of a continuous family embedded in the cliff tomb structure was explored, as the construction of the tomb was the result of the continuous endeavours from many generations of the family, and the physical form of the cliff tomb was a metaphor for a prosperous family. Following this intention of the tomb occupants underlying the design of the cliff tomb structure, the pictorial carvings and the burial objects in the cliff tomb made adaptations to make the cliff tomb an embodiment of relations between different family members and different generations.

At the time of his death in 1885, Ulysses S. Grant was widely regarded by his contemporaries as one of the great Americans of his age. Along with George Washington and Abraham Lincoln, his name was frequently included among the most accomplished heroes of the then still-young republic. Both nationally and internationally Grant was widely regarded as one of the world’s great military leaders. He was elected to the presidency of theUnited Statesduring one of the most divisive epochs in American history and won a decisive electoral victory to earn a second term. In his final years he embarked on a comprehensive world tour to great personal acclaim as well as the acknowledgement of this nation’s ascendancy as a world power. And literally hours before his death, he completed a literary work that stands today as one of the finest pieces of writing in American military history. Yet today, the remembrance of U.S. Grant bears little resemblance to the one he enjoyed among his contemporaries. As noted in a recent biography of Grant, his reputation has fallen into “disrepair.” In current popular memory, mention of Grant’s name frequently invokes images of a drunk, a failed and corrupt presidency, and a “butcher” who gained victory inAmerica’s great Civil War only as a result of superior resources and manpower. The intent of this study is to examine the evolution of Grant’s reputation from the American Civil War to recent times. It is intended to tell the story the storytellers told about Grant and how his reputation developed and was forged in popular memory. During his lifetime, this will include the study of a multitude of sources including newspaper accounts, political cartoons, diaries, and letters that reflected prevailing thought about Grant. In the years since his death, research will focus on those numerous factors that shape reputation. These will include delving into historical scholarship, literature, changing cultural nuances, political influences, and the wide range of popular entertainment vehicles so important in shaping public remembrance, to conclude with the suggestion that Grant’s reputation has been miscast in this nation’s popular memory.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-04-04T13:15:42Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) SILVA JUNIOR_AS FACES DE HELA_DISSERTACAO_ANTROPOLOGIA.pdf: 8245289 bytes, checksum: 044b055dbe96b181ca19df2c685f2216 (MD5) / Made available in DSpace on 2017-04-04T13:15:42Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) SILVA JUNIOR_AS FACES DE HELA_DISSERTACAO_ANTROPOLOGIA.pdf: 8245289 bytes, checksum: 044b055dbe96b181ca19df2c685f2216 (MD5) Previous issue date: 2015-09-04 / FACEPE / Quando do surgimento dos primeiros cemitérios públicos no Brasil, uma personagem marcante - presente em grande quantidade nos pomposos cortejos fúnebres oitocentistas - se fez representar na pedra. Estas personagens foram figuras femininas, largamente representadas nas sepulturas, estando ligadas a valores, ideais, emoções e apresentandose sob diversas formas e trejeitos, inspirados, sobretudo, em um estilo neoclássico. Contudo esta onipresença do feminino nas necrópoles fundadas em meados do século XIX contrasta com a ausência das mulheres de carne e osso na vida pública das províncias, sendo guiadas basicamente pelo discurso e modo de ver masculino, que as restringiam ao âmbito do lar. Cabe a esta dissertação, portanto, identificar as muitas formas de representação do feminino na necrópole de Santo Amaro (entre 1870 e 1930), considerar a relação entre elas, o cotidiano e os discursos das elites sobre os “papeis sociais das mulheres”. Assim, procuro apresentar um espaço onde a iconografia feminina prosperou, dissertando sobre alguns motivos para tanto. Deste modo, no texto que segue, o leitor encontrará um pouco do cotidiano oitocentista do Recife, com seus contrastes de classe, raça e gênero; visualizará os aspectos fúnebres desta cidade em contraste com outras províncias do período e descortinará os dois lados, as duas faces da morte: o primeiro, aterrador, sofrível e pútrido e o segundo, aparente, belo e delicado que busca encobrir o primeiro. / In the emergence of the first public cemeteries in Brazil, a remarkable character - present in large quantities in the pompous funeral processions of the nineteenth century - was represented in stone. These characters were female figures, widely represented in the graves, being connected to values, ideals, emotions and presenting themselves in various forms and mannerisms, especially inspired by a neo-classical style. However, this omnipresence of women in the necropolis founded in the mid-nineteenth century contrasts with the absence of women of flesh and blood in the public life of the provinces, being guided primarily by speech and male way of seeing, that restricted them in the scope of home. It is up to this thesis, therefore, to identify the many forms of female representation in the necropolis of Santo Amaro (between 1870 and 1930), to consider the relationship between them and the daily life and the speeches of the elites on the "social roles of women". Thus, I try to present a space where the female iconography flourished, expounding some reasons for this. Thereby, in the following text the reader will find some of the nineteenth-century everyday Recife, with its class, race and gender contrasts; will see the funeral aspects of the city in contrast to other provinces of the period and will uncover the two sides, the two faces of death: the first terrifying, endurable and putrid and the second apparent, beautiful and delicate, which seeks to cover up the first.

Lara Croft, the heroine of the hugely popular Tomb Raider videogame series, is a representative of femininity in contemporary popular culture. The newest Lara Croft game, Rise of the Tomb Raider (released in 2015/2016) presents a new version of Lara Croft (new Lara), who is a departure from the postfeminist action hero archetype that Lara Croft exemplified before the character’s reboot in 2013 (old Lara). Lara Croft has undergone a significant transformation since her first incarnation in Tomb Raider I in 1996. Some aspects of Lara Croft’s characterisation that have changed are her wardrobe, her body shape, and the character’s emotional complexity. Narratological aspects of Lara Croft that have changed are her relationships with other female characters, as well as her relationship with her deceased parents. And finally, some of the ludological elements of the game that have changed are Lara Croft’s weapons, and the way in which she navigates her environment. The study relates Lara Croft’s transformation to the changing structures in the videogame industry, such as the number of women currently playing videogames and the number of women currently involved in creating videogames. It is found that the number of female gamers has increased significantly from 1996 to 2017 and that where women are more involved in the creation of videogames, the female heroines’ representation tends to be more in line with that of new Lara. The study identifies a new female heroine archetype, which I term ‘the new Lara phenomenon’, that is increasingly displayed in female videogame heroines after the 2013 Tomb Raider reboot. / Dissertation (MA)--University of Pretoria, 2019. / Visual Arts / MA Visual Studies / Unrestricted

This study Shaped grief. On Swedish Tomb Sculpture’s Artists and Commissioners begins by contextualizing the field in question, the field of the tomb sculpture and the tomb sculptor, the burial sites and representations of death, the sculpture of that period, and especially the iconography of the sepulcher art, and the situation of the female sculptors. In the analysis chapter the bourgeois Gothenburg and Stockholm, and their relation to the arts, are contextualized. The analysis of the material is made by using the history of sepulchral art, gender theory and semiotics elaborated in art science, supplemented with critical discourse analysis, Bourdieu’s field theories, Veblen's consumption theory, intersectional and mentality-historical theories. The study addresses four questions. The first is about who the commissioners of tomb sculpture of the four chosen sculptors - Sigrid Blomberg, Charles Friberg, Carl Fagerberg and Alice Nordin - were. It is generally a wealthy, bourgeois ordering group and the commission is often made in the later part of life. With regard to a division in western and eastern Sweden, it is not surprising that the largest tomb monuments and their commissioners are located in bourgeois and liberal Gothenburg, a city with an international perspective. The court and nobility culture that existed in Stockholm and Mälardalen rested on the ancestors and their tomb monuments, including chapels. The second question is whether any of the involved clients are more prominent in the commission situation. In the few examples the study includes, wives, sometimes in widowhood, are prominent commissioners. The third question concerns whether the incentives for the commission of a tomb monument are documented. One family wishes to contribute to the "fine arts" finding a place at the Swedish cemeteries and to create an environment equal to cemeteries in southern Europe. Another family wants the tomb sculpture to be an adornment to the cemetery. The fourth question is about whether tomb sculptures are dealt within contemporary newspapers and journals, to indirectly reflect the position of the tomb sculpture in the artistic field. This sepulcher sculpture is noted in the contemporary press. But it should be seen against the background that public sculpture generally did not occur in the early 20th century and that a lively debate about cemeteries and tomb art is on the period’s agenda. It is usually in short terms that the tomb monuments are mentioned in the daily press. Especially the study's two male artists are described as not being followers of contemporary avant-garde art. All in all, the impression is that the tomb sculpture, despite the attention of the press, has a lower status. What concerns the gender perspective of the study, there are only two male commissioners who say they have an intention beyond the primary - to adorn the family tomb. In some cases, the possibility appears that when husbands pass away, widows take an active order position. With regard to preserved documentation about the commission process, there are more available information around the two female sculptors. Did the two male sculptors not correspond with their commissioners? Or have they for some reason not wanted to hand it down to posterity?