Originally a Ph. D. Thesis--University of Washington, 1999. / Includes bibliographical references.

Originally a Ph. D. Thesis--University of Washington, 1999. / Includes bibliographical references.

Thesis (M.A.)--Georgia Southern University, 2009. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts." Directed by Sue Mullins Moore. ETD. Includes bibliographical references (p. 85-88)

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

The subject of this thesis was focused on the analysis of international trade with selected specimens of rhino species (trophies, horns, live rhinos, carvings, horn carvings, derivatives) in 2004 - 2013. The trade at the European Union, taking into accounts the position of the Czech Republic, and the global worldwide trade were evaluated in term of importer and exporter and source, purpose and origin of specimens. Evaluation was based on data from the Cites Trade Database which was further processed via contingency tables and graphs. It was found that there was a decrease of import and export in 2013. The most imported specimens were live rhinos in the world (40,5%) and trophies in the European Union, the most exported specimens were trophies in the world (39,4%) and carvings (80,7%) in the European Union. The largest importer was USA in the world (16,6%) and Spain in the European Union (3%). The largest exporter in the world was South Africa (73,9%) and United Kingdom in the European Union (4,6%). The Czech Republic was imported 0,8% of total import and exported 0,2% of total export. Imported specimens came mostly from the wild (62,1%), the country of origin was not completed and were imported mainly as hunting trophies (33,4%). Exported specimens came mostly from the wild (76,3%), the country of origin was not completed (82,2%) and were exported primarily as hunting trophies The results indicate an overall downward trend in the legal trade but also confirm the considerable interest in horns in Asia. Therefore, it is necessary to continue to monitor all transactions.

The aim of this study is to offer a description and evaluation of the ceremonial carriages collections preserved in museums across Bohemia and Moravia, and to put them in the context of European artistic and artisan production in the 16th - 18th century. The study provides an overall account of the development of carriage from technical, as well as art history angle, together with the necessary overview of the issues of courtly hierarchies, ceremonials and visual demonstrations of the modern aristocracy, leading ultimately to the transformation of a simple personal mode of transport into a pompous work of art. Many important Baroque artists took part in carriage construction and decoration, and this study attempts to ascertain the extent of their contribution in this area. By presenting a descriptive summary of the history of the ceremonial carriages found in the collections in Bohemia and Moravia, and providing a comparison study with such carriages from other European countries, we can assert their position within the context of Europe-wide museum collections, as well as provide the opportunity for foreign scholars to take the Czech collections into account in their research.

Na Antiguidade Clássica oferendas efêmeras constituídas por guirlandas e festões de flores e frutos foram depositadas em frisos nas antigas construções dando origem aos relevos e esculturas ornamentais que, executados em pedra, foram aplicados sobre os frontispícios dos templos. Esse rico repertório ornamental foi reeditado na Renascença e, na Contra-Reforma, se tornaria representativo de uma estética oficializada pelo Concílio de Trento, dirigida à constituição da igreja enquanto expressão terrena da casa de Deus. No universo laico, a estética estaria subordinada ao poder real, configurando no espaço cortesão uma arte palaciana. No mundo ibérico esses motivos ornamentais seriam transpostos para a madeira, passando a recobrir as superfícies internas dos templos religiosos, também chamados de igrejas cintilantes de ouro, repertório este que chegou ao Brasil pelas mãos de mestres entalhadores, religiosos ou leigos provenientes do Reino. Nos templos construídos em São Paulo, entre os séculos XVII e XVIII, encontram-se exemplares de talha representativa das ocorrências estilísticas que se sucederiam no mesmo período na Europa, assumindo em alguns casos, particularidades regionais. O presente estudo parte dos tratados renascentistas, buscando identificar entre os conjuntos remanescentes do período colonial paulista, alguns dos elementos que teriam contribuído para a formação do repertório ornamental tridentino e palaciano que ocorreram primeiramente nos grandes centros europeus, geradores e difusores de estética, chegando a Portugal, e sendo editados na antiga Província de São Paulo de Piratininga, envolvendo aspectos que em muito ultrapassariam a materialidade dos suportes físicos. / In Classical Antiquity, ephemeral offers of wreaths and embroideries made of flowers and fruits were placed in the friezes of the ancient constructions, thus originating the ornamental engravings and sculptures that, worked in stone, were applied to the frontispiece of temples. This rich ornamental repertoire was reedited in the Renaissance and, in the Counter-Reformation, would become representative of a type of aesthetics made official by the Council of Trent with the intent of constituting the church as the earthly expression of the house of God. In the universe of laity, this aesthetic principle would be under royal power, configuring a palatial art in the court space. In the Iberian world, these ornamental motifs would be transferred to woodwork and cover the inner surfaces of the religious temples, which were also called shinny churches of gold. This repertoire arrived in Brazil through the hands of carving masters, both clergy and laymen coming from the Kingdom. In the temples built in São Paulo, between the seventeenth and the eighteenth centuries, we can find examples of this type of carving that represent the stylistic manifestation which occurred in Europe in the same period, but in some cases presenting regional particularities. This study begins with the Renaissance treaties, seeking to identify among the remaining sets of the colonial period in São Paulo some of the elements that would have contributed to the formation of the palatial and Tridentine ornamental repertoires that occurred firstly in the great European centers, which generated and spread aesthetic trends. These trends would reach Portugal and later the old Province of São Paulo de Piratininga in Brazil, where they found a new expression, involving aspects that greatly surpassed the simple materiality of physical supports.

In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings. / Arts, Faculty of / Anthropology, Department of / Graduate

Title: Key parts of the carved curves instruction - training set Aim of the study: The aim of the thesis is to create a multimedia tool for teaching carving arcs, which will include appropriate training exercises, broken down by key points in the teaching method and describe their implementation. Methods: In developing this thesis was used both methods and content analysis methods participant and nonparticipant observation and video analysis coupled with digital recording and practical DVD creation. Results: The result of the work is created by a DVD containing a selection of twenty eight exercises for teaching key locations in the carving. Key words: carving turn, key positions, teaching skiing, training exercises

Distribution of video contents over the Internet has increased drastically over the past few years. With technological advancements and emergence of social media services, video content sharing has grown exponentially. An increased number of cyber crimes today belong to possession or distribution of illegal video contents over the Internet. Therefore, it is crucial for forensic examiners to have the capability of recovering and analyzing illegal video contents from seized storage devices. File carving is an advanced forensic technique used to recover deleted contents from a storage device even when there is no file system present. After recovering a deleted video file, its contents have to be analyzed manually in order to classify them. This is not only very stressful but also takes a large amount of time. In this thesis we propose a carving approach for streaming multimedia formats that allows forensic examiners to recover individual frames of a video file as images. The contents of these images then can be classified using existing techniques for forensic analysis of image sets. A carving tool based on this approach is developed for MPEG-1 video files. A number of experiments are conducted to evaluate performance of the tool. For each experiment an MPEG-1 file with different encoding parameters is used. Moreover, each experiment contains 18 runs and with each run chunk size of the input MPEG-1 file is varied in order to create different amount of disk fragmentation For video only MPEG-1 files, 87.802 % frames are fully recovered when the chunk size is equal to 124 KB. Where as in the case of MPEG-1 files containing both audio and video data 90.55 % frames are fully recovered when the chunk size is 132 KB.