Online searchers in Australia were studied through six sets of variables: backgrounds, experience, attitudes, behaviours, styles and satisfaction. A mailed questionnaire attracted a response rate of 84.5 per cent. Respondents were drawn equally from academic and special libraries. Those in special libraries tended to be more satisfied with their searches, and favoured adaptability but not preplanning. Those whose organisations levied charges appeared to search less often and to have less faith in controlled vocabularies. A minority with computational backgrounds tended to have more searching experience. Many respondents searched infrequently and had conducted low total numbers of searches. Those searching more often were less cost conscious, and more in favour of trial-and-error and reviewing retrieved titles. Searchers who had conducted more searches favoured trial-and-error , browsing and reviewing retrieved titles. Controlled vocabularies, adaptability (related to a disinclination to review retrieved titles), trial-and-error and browsing were favoured . Fidel's conceptualist style tended to be adopted by those favouring trial-and-error. Her operationalist style was considered routine and positively related to perceived user satisfaction with searches. Some concern about cost was related to a tendency to plan alternative strategies.

In this comparative examination of cinematic representations of American and Brazilian wildernesses, I argue for the necessity of a transnational, postregional, and ecocritical approach to film studies. The way that the deserts of the American West are represented by Hollywood Western filmmakers reveal underlying ecological and political philosophies, and provide a productive contrast with representations of the sertão, a similarly arid biome in Brazil. Among other theoretical approaches, this study uses W. J. T. Mitchell’s idea of “landscape” as a verb to examine the formal devices by which filmmakers and audiences “landscape” these “wildernesses.” Using John Ford’s The Searchers (1956) as an example, I suggest that Hollywood Westerns inscribe the land with a colonial gaze that reflects and perpetuates a dualistic conception of nature, one that sees nature as separate and distinct from humankind. Cinema Novo, the radical anticolonial movement in Brazilian cinema, provides an aesthetic and philosophical alternative. Through an analysis of one of Cinema Novo’s foundational works by one of its founding figures—Glauber Rocha’s Deus e o diabo na terra do sol [Black God, White Devil] (1964)—I demonstrate how the theory and practice of Rocha’s anticolonial “aesthetic of hunger” has an ecological dimension, one that rejects and collapses a binary opposition between humans and nature. By looking beyond borders which too often function not only as national boundaries but to delimit fields of academic study, this project finds common ground for comparison in representations of nature, and demonstrates the political and ecological implications thereof.

Den hegemoniska maskuliniteten är försatt i ett stadie av konstant förändring och omförhandling. Saker som i en viss tidsepok kommit att associeras med femininitet kan vid en annan tidpunkt komma att tillskrivas som ett maskulint attribut. Då mannens relation till sig själv  – och hans relation till sin omgivning – påverkas av den maskulina idealbild som förmedlas, i bland annat populärkulturellt material, blir det därför viktigt att undersöka hur denna hegemoniska maskulinitet yttrar sig i olika tidsepoker. Detta dels för att utröna varför den ser ut som den gör idag och hur den porträtterats historiskt, men även för att förutspå hur gestaltningen av maskulinitet kan komma att förändra sig i framtiden. Denna studie har utfört en komparation mellan westernfilmer som av diverse forskare och kritiker ses som typiska tidsenliga exempel på filmer inom westerngenren. Detta gjordes för att fastställa hur den historiska porträtteringen av den hegemoniska maskuliniteten skiljer sig från den i ett modernt populärkulturellt material inom samma genre. Detta gjordes genom att utföra en semiotisk bildanalys av protagonistens och antagonistens slut- samt introduktionsscen, därefter jämfördes de observationer som gjorts i analysen, varpå övergripande analyser gjordes, i vilken återkommande drag, behandlingen av minoriteter, kroppsattribut och miljöerna som dessa befann sig i och bebodde, diskuterades och sammanställdes. Kontentan av resultatet var att attribut som tidigare associerats med protagonister i materialet från 1950-talet numera utgjordes av antagonisterna i materialet från 2010-talet. Den tidigare maskuliniteten som gestaltades av storväxthet och breda axlar har förändrats, och den hegemoniska maskuliniteten har nu gett upphov till en man med mer komplexa motivationer, större känsloliv och hänsynsfullhet än den som skänktes av protagonisten i dom tidigare gestaltningarna. Genom att uppnå sina målsättningar kunde även protagonisterna i materialen från båda tidsperioderna dölja att dessa antagit attribut som tidigare varit kvinnligt kodade i den nya maskulina idealbilden, exempelvis fällandet av tårar.

Working in a township is a challenging but also rewarding way of living. In this dissertation the researcher, in collaboration with the co-searchers, explore ways to mentor one another as they learn how to deal with trauma, either by experiencing trauma directly or witnessing secondary trauma. This leads to new ways of being 'in the moment', coping with trauma, forming a community of care and learning to be in an aware and empowered position. The responsibility of practical theology and the commitment to pastoral care are explored in the context of theology, and spesifically feminist theology, contributing to 'do hope' in Mamelodi. / Philosophy, Practical & Systematic Theology / M.Th. (Pastoral Therapy)

Working in a township is a challenging but also rewarding way of living. In this dissertation the researcher, in collaboration with the co-searchers, explore ways to mentor one another as they learn how to deal with trauma, either by experiencing trauma directly or witnessing secondary trauma. This leads to new ways of being 'in the moment', coping with trauma, forming a community of care and learning to be in an aware and empowered position. The responsibility of practical theology and the commitment to pastoral care are explored in the context of theology, and spesifically feminist theology, contributing to 'do hope' in Mamelodi. / Philosophy, Practical and Systematic Theology / M.Th. (Pastoral Therapy)