Introduktion: Ungefär en fjärdedel av alla barn och ungdomar födda under samma år genomgår någon form av behandling som innefattar förflyttning av tänder. Syfte: Primär fokus med denna studie är att undersöka om ett samband finns mellan gingival retraktion och användning av fast apparatur på avdelningen för Ortodonti, Malmö Högskola.Metod: Studiemodeller, intraorala bilder och klinisk undersökning (återbesök 2014) användes för att identifiera gingival retraktion med ja eller nej. Om det fanns gjordes en mätning. Försöksobjekt valdes från patienter som blivit färdigbehandlade 2008/2009. Resultat: Studiemodeller för 2008 visade färre gingivala retraktioner efter behandling p-värde, (p=0,0034 som är statistiskt signifikant). För lite data fanns från klinisk undersökning och intraorala bilder för att göra analays. Slutsats: Gingivala retraktioner verkar inte ha någon koppling med ortodontisk behandling på avdelningen för Ortodonti, Malmö Högskola. Kliniska intraorala foton är ett grovt mått diagnostiskt verktyg för att bedöma gingivala retraktioner. Det är baserat på begränsad data och inte slutgiltigt. Studie med större grupp av patienter behövs

A question addressed in this study is; how are identities of children constructed using narratives and photographs in humanitarian discourse? This study is a sociological exposition of ethical issues that arise from representations of children within humanitarian discourse. Humanitarian discourse is treated as a special type of cultural representation. This discourse entails uses of a special form of language that constructs represents and portrays stereotypical identities of children. Such cultural representation illustrates how children’s identities are socially constructed realities. Constructions of realities of children are shaped, influenced and ‘controlled’ by intentions of humanitarian professionals as social actors. Humanitarian professionals’ actions as agents are also located within socio-cultural structures and contexts that give rise to the humanitarian discourse. This means reality is not ‘unified’ but a product of intentional and conscious inter-subjective human actions in specific contexts. Such is an assumption of phenomenological sociological theory that situates this study. This assumption also influenced qualitative research methods of this study. Qualitative methods emphasise the significance of individual perceptions and interpretations when analysing social issues. Identified ethical issues arise from practical program situations causing humanitarian professionals to collect children’s narratives and photographs in the first instance. Those situations include; conducting child focused researches, designing children’s programs, writing child rights advocacy articles and policy briefs, marketing children’s issues, media publishing, writing project proposals, monitoring and evaluating projects. Ethical issues that arise from the above include; violations of children’s privacies, lack of informed consent to collect and use children’s narratives and photographs, uses of enticements to induce information from children, disclosures of sensitive data, exaggerations, sensationalising and manipulations of children’s identities. Based on study findings, knowledge or academic contribution situated within phenomenological sociology is proposed. The study’s knowledge contribution is that constructions of children’s identities reveal how perceptions and interpretations of identities create socially determined realities within humanitarian discourse. / Sociology / D. Phil. (Sociology)

Thesis (M.Tech.: Library and Information Studies)-Durban University of Technology, 2006. xii, 210 leaves. / This study was aimed at investigating the digital scanning of photographs in archival collections with a view to highlighting some of the key issues in the provision of a digital imaging service.

Thesis (MA (Visual Art))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Hierdie tesis is bemoei met die wyse waarop die fotobeeld konvensioneel aan 'n mimetiese kode van "gedrag" onderhewig is, met die gevolg dat alternatiewe voorstellingsfunksies dikwels buite oorweging gehou word. 'n Interessante area van ondersoek word blootgestel wanneer die komplekse verhouding tussen die toeskouer en beeld betrek word om die broosheid van eersgenoemde se agentskap in die waarnemingproses te beklemtoon. Dit is dus vanuit hierdie gewaarwording dat ek my bespreking van die fotobeeld grotendeels binne 'n psigoanalitiese raamwerk situeer en aan die hand van konsepte soos Einfühlung, die Lacanian Real en John Dewey (2005) se teorie van kuns as ervaring, bespreek. Die skynbaar teenstrydige aard van die fotobeeld as (onder andere) beide mimetiese realiteitskopie en piktoriale fiksie, ooglopend onafhanklik van taal en eweveel deurspek met diskursiewe vertolkings, openbaar volgens my egter die ideale vertrekpunt vanwaar fotografie se voorstellingsfunksie heroorweeg kan word. Dié opponerende tweespalt, wat as kenmerkende karaktertrekke van die fotobeeld na vore tree, noop die toeskouer om die beeld met 'n verhoogde sensitiwiteit te benader – met die gevolg dat die foto se onlosmaaklike skakel met "haar"1 diskursiewe grense en aptyt vir die "onsêbare" as konstruktiewe koalisie gesien word. Die fotografiese werk van Lien Botha, veral haar Amendment–reeks (2006) en Parrot Jungle (2009), sal deurentyd as visuele bevestiging van my argumente betrek word. / ENGLISH ABSTRACT: This thesis is concerned with the way in which the photographic image has conventionally been subject to a mimetic code of "behaviour", resulting in the marginalization of alternative, representational functions. An interesting area of study is, however, laid bare when the complex relationship between the viewer and image initiates a discussion around the former's wavering position as autonomous agent within the observation process. Using this awareness as a point of departure, my discussion will be primarily situated within a psychoanalytic framework by focusing partly on concepts like Einfühlung, the Lacanian Real and John Dewey's theory of art as experience. An apparent dualistic rivalry, that situates the photo-image simultaneously as a mimetic agent of reality and pictorial fiction, apparently devoid of language and equally riddled with discursive interpretations, serves furthermore as an ideal complication of the photograph's conventional, representational function. These opposing "forces", recognizable as a typical characteristic of the photographic image, subtly challenges the viewer to regard it with a heightened sensitivity – resulting in an awareness that the photograph's inseparable bond with its discursive boundaries, and appetite for the "unrepresentational", does in fact represent a constructive coalition. The photographic work of Lien Botha, especially her Amendment-series (2006) and Parrot Jungle (2009) will serve as a visual emphasis of my arguments.

本研究以銀髮族為主要的研究對象，採用脈絡分析法了解銀髮族於日常生活中的影像使用行為，經由在受訪者住所進行的深度訪談與行為觀察，探究數位影像與銀髮族的關連，日常生活的影像使用行為，與數位影像工具對銀髮族使用數位影像的影響。根據對銀髮族的影像使用行為與影像工具和情境故事的彙整，本研究歸納出三種銀髮族影像使用行為的核心價值，分別為分享、典藏和記錄。 　　此外研究中對使用影像行為的過程與不同使用工具的詮釋，也說明了不同影像工具因功能條件限制，為高齡使用者帶來的使用障礙與排斥使用的現象。根據本研究對銀髮族使用影像行為的活動脈絡，與針對情境故事進行的脈絡分析，所提出相關影像活動使用工具的設計建議與銀髮族影像服務未來的發展方向，將使未來的數位影像相關產品服務，更貼近年長使用者的生活需求。 / Through the contextual inquiries, understanding about the present usage and motivation of older people toward digital photography in their ordinary life are revealed. According to these scenarios from deep interviews and field observation, three different core values of photo usage behaviors to older people are identified, including sharing, archiving and recording. 　　Besides, the differences between photo usage behaviors and tools in these uses help us explain the obstacle of photo usage and the difficulties for adopting photography of mobile device by older people. Based on the knowledge above, proposing concrete directions of developing the applications of future digital photo technologies that actually fit in with older user’s needs are pointed out.

Fandom is, as scholars in relevant areas of Media Studies and Sociology attest, a vibrant aspect of contemporary culture and influential in individuals' expression and construction of their identities. This thesis examines and endeavours to challenge how fandom, defined as "emotionally involved consumption of a given popular narrative or text," is conceived and received in contemporary art. It addresses misconceptions about art by four artists who explicitly express their fan identities in their artwork and examines how a finer understanding of fandom can enrich contemporary art discourse and illuminate the artists' works. Bringing together the fields of art criticism and cultural studies, the thesis explores the impact of contemporary artists' fandom on their depiction of celebrities and the critical reception these artworks have received. The principal artists whose works and fan identities are analysed are: Ryan McGinley (b. Ramsey, New Jersey, 1977-), Elizabeth Peyton (b. Danbury, Connecticut, 1965-), Karen Kilimnik (b. Philadelphia, Pennsylvania, 1955-) and Stella Vine (b. Alnwick, England, 1969). In addition to these, art works by eleven other prominent late twentieth and early twenty-first century artists are presented as revealing contrasts. These artists, the principal artists and their comparisons, all are not only doing something interesting artistically; their work presents different approaches to expansive concerns about the nature and function of fans and celebrity in wider culture. Therefore, the purpose of this study is to evaluate how fandom manifests itself in artists' work, whether fan feelings are discernible in their artwork and how admissions of fandom, either through artists' public declarations or evidence in their art, influence critical interpretation of art and colours public perception of the artists themselves.

This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.

Asperger's syndrome (AS) is a pervasive developmental disorder that is associated with marked social dysfunction. Deficits in the perception of nonverbal cues of emotion may be related to this social impairment. Research has indicated that children with autism are limited in their emotion perception abilities, but studies that have addressed this issue with individuals with AS or high-functioning autism (HFA) have yielded inconsistent findings. These inconsistencies may be related to methodological differences across studies including diagnostic criteria and failure to consider the intensity of the emotion cues. It was hypothesized that children with AS and HFA would both have deficits in emotion perception compared to typically-developing children. However, children with HFA were expected to have an even greater emotion perception deficit than children with AS and this difference was hypothesized to be most pronounced for low intensity cues of emotion. It is important to clarify whether individuals with AS and HFA differ in emotion perception because most studies of this skill combine them into one group or use poorly defined diagnostic criteria. This study examined the ability of 30 8- to 15-year-old children with either AS or HFA to perceive emotion from high and low intensity cues. In order to address limitations with the differential validity of the DSM-IV criteria for AS, diagnoses were based on diagnostic criteria proposed by Klin et al. (in press). A researcher who was blind to diagnosis administered a test that presented low and high intensity cues of emotion in photographs of facial expression and audiotapes of tone of voice. Comparison of the emotion perception accuracy of children with AS to the normative means of this instrument for typically-developing children did not reveal any significant differences. In contrast, the children with HFA were significantly less accurate in their perception of facial expressions and tone of voice than the normative sample and the participants with AS. Contrary to expectations, IQ was significantly related to emotion perception accuracy. After controlling for IQ, the difference in perception of facial expressions between children with AS and HFA was not significant. On the other hand, cue intensity moderated the relation between diagnosis and emotion perception accuracy for tone of voice even after IQ was taken into account. Children with AS perceived high and low intensity tone of voice cues with similar accuracy, but children with HFA had significantly poorer performance on the low intensity tone of voice cues. Although emotion perception accuracy was related to better adjustment, it was not correlated with the most sensitive measure of current social functioning. This suggests that even when children with AS or HFA perceive cues correctly, they may not know how or be able to properly integrate them for adaptive responses in social interaction. The findings have important implications for understanding inconsistencies in past research and identifying future directions.

This thesis analyzes news photographs related to the Old Town Square and its task is to explore the role of a place in a city and how it determines the myths in visual messages. The theoretical part focuses on the context of semiotics and news photographs and describes the possibilities in interpreting meanings of visual communication. In relation to photographic messages, it also reflects the analytical background at the level of myth, based on the work of Roland Barthes. Theoretical part also takes in account the symbolic and historical values of the Old Town Square. The analysis itself is based on a sample of 20 randomly selected photographs present in MF Dnes and Blesk, which cover events taking place in the Old Town Square between 1993 and 2013. Using comparative semiotic analysis it focuses on the visual content of news photographs in these journals, while observing how the Old Town Square takes part in the connotative chains and resulting myths.

Este trabalho realiza um estudo comparado entre o romance Relato de um certo Oriente, do escritor brasileiro Milton Hatoum e Um rio chamado Tempo, uma casa chamada Terra, do escritor moçambicano Mia Couto, com a finalidade de verificar as estratégias de construção da memória. Com base na hipótese de que a memória, nestes textos, é imaginação de possibilidades do devir que não se esgota em quadros fixos, a tese focaliza as dominantes técnicas e temáticas de construção da narrativa através do uso feito pelos autores do motivo da viagem, da fotografia e da epistolografia na composição dos quadros de memória. Para refletir sobre os narradores que se movimentam no espaço impreciso das misturas, envolvidos em complexas práticas culturais em interação, vale-se do apoio teórico e crítico de conceitos como hibridismo, mestiçagem, transculturação, crioulização e ambivalência. Este exercício crítico faz-se no horizonte do comparatismo da solidariedade, proposto por Benjamin Abdala Junior para os estudos das literaturas ibero-afro-americanas. / This paper carries out a comparative study between the novel Relato de um certo Oriente, by brazilian writer Milton Hatoum and Um rio chamado tempo, uma casa chamada Terra, by mozambican writer Mia Couto, with the purpose of verifying the construction strategies of memory. Based on the hypothesis that the memory, in these texts, is imagination of possibilities of the future that does not end up itself in fixed pictures, the thesis highlights the dominant techniques and issues of construction of the narrative through the use made by the authors of the travel motive, of the photograph, and of the epistolography in the composition of memory pictures. In order to reflect on the narrators that movie themselves on the imprecise space of mixtures, involved in complex cultural practices in interaction, it is looked for theoretical support and critical concepts as hybridism, miscegenation, transculturation, creolization and ambivalency. This critical exercise was done in the comparatism horizon of solidarity, proposed by Benjamin Abdala Junior to the studies of Iberian-Afro-American literatures.