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Journal articles on the topic 'Stenographer'

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Published: 28 May 2022

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1

Craig, Marveen. "Sonographer Please, Not Stenographer." Journal of Diagnostic Medical Sonography 17, no. 5 (September 2001): 298–302. http://dx.doi.org/10.1177/875647930101700511.

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2

Cramer, Alfred W. "Of Serpentina and Stenography: Shapes of Handwriting in Romantic Melody." 19th-Century Music 30, no. 2 (2006): 133–65. http://dx.doi.org/10.1525/ncm.2006.30.2.133.

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Like nineteenth-century handwriting, Romantic melody consisted of a single unbroken, shaped curviline and was invested with the ability to evoke the ideal, maternal feminine, to evoke deeper images and specific meanings, and to function simultaneously as language and as signifier of infinite meaning. It can be fruitfully compared with stenography, a handwriting-based information technology flourishing in the middle nineteenth century. This article documents the perceived handwriting-like nature of music and the perceived musicality of stenography through writings of E. T. A. Hoffmann, Robert Schumann, Wagner, and the stenographer F. X. Gabelsberger. The perceptual phenomenon of auditory streaming, along with analytical approaches developed by Robert O. Gjerdingen and Eugene Narmour, makes it possible to demonstrate structural similarities between stenography and melody (in examples by Berlioz, Mendelssohn, and Wagner) and to show commonalities between the notion of the "music of the future" and the futuristic aspirations of stenography. In turn, it becomes possible to perform the shapes of handwriting in Romantic melody and hear voices and fantastic visions in those shapes.
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3

Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.

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What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
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4

Holmes, Tiffany. "The Corporeal Stenographer: Language, Gesture, and Cyberspace." Leonardo 32, no. 5 (October 1999): 383–89. http://dx.doi.org/10.1162/002409499553613.

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The author describes her research and creative practice exploring the intersection between digital, biomedical, and linguistic modes of bodi ly representation. She synthesizes traditional forms of painting with new computer and medical imaging technologies to call into question the relationship between visible and invisible bodily forms and actions. Her paintings and installations use scientifically rendered images of the body (from symbolic DNA sequences to developing cel lular structures) in order to consider the role of the tools and technologies used to organize and view these images. The issue of visual, linguistic, and scientific literacy is thus a corollary concern.
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5

Treigys, Povilas, and Antanas Lipeika. "INVESTIGATION OF THE SPEAKER IDENTIFICATION METHOD BASED ON CLUSTERED PSEUDOSTATIONARY SEGMENTS OF VOICED SOUNDS." Technological and Economic Development of Economy 12, no. 1 (March 31, 2006): 50–55. http://dx.doi.org/10.3846/13928619.2006.9637722.

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The problem of speaker identification is investigated. Basic segments ‐ pseudo stationary intervals of voiced sounds are used for identification. The identification is carried out, comparing average distances between an investigative and comparatives. The coefficients of the linear prediction model (LPC) of a vocal tract are used as features of identification. Such a problem arises in stenographic practice where it is important for speech identification to know who is speaking. Identification should be used in stenography and it has to be fast enough in order not to disturb the stenographer's job. The clustered parameter data will be investigated by providing the performance of the speaker identification method with respect to the computational time and the number of errors.
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6

Pierce, J. Mackenzie. "Writing at the Speed of Sound: Music Stenography and Recording beyond the Phonograph." 19th-Century Music 41, no. 2 (2017): 121–50. http://dx.doi.org/10.1525/ncm.2017.41.2.121.

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Music shorthand systems devised by Michel Woldemar, Hippolyte Prévost, and August Baumgartner adapted the quill strokes of speech stenography to the seemingly analogous domain of music. Eschewing conventional staff notation in favor of cursive lines that indicated pitch, register, interval, and duration, music stenographers endeavored to record in real time instrumental improvisations and fleeting inspirations that would otherwise have been lost forever due to a lack of recording technology. To advocates of such methods, more efficient technologies of musical writing were indispensable for capturing fugitive musical thoughts and acts: music stenography aided Hector Berlioz, for example, in the composition of his Requiem. For others, including Rossini, Fétis, and contributors to the Allgemeine musikalische Zeitung, the claims and merits of stenography were a source of controversy as well as fascination. Grounded in a corpus of seventy music stenographies that have been largely ignored by musicologists and historians of technology alike, this article asks how musical intuitions became musical texts, thereby entering print-based networks of circulation. Although the importance of “genius” and “work” as historical concepts regulating the production, ontology, and reception of nineteenth-century music has long been acknowledged, the material basis of these concepts has been overlooked until recently. The efforts of musical stenographers demonstrate that the inscription and circulation of material texts provided the means by which musical inspiration could be registered and stored, constituting a material substrate on which such idealist concepts depended. Whereas historians of sound recording have focused on seismic historical and cultural shifts wrought by the introduction of the phonograph in 1877, the preoccupation with capturing music in the decades preceding and following this date suggests an alternate conception of text-based sound recording.
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7

Troeller, Jordan. "A (Still) Marginal Modernity, or The Artist as Stenographer." October 172 (May 2020): 3–7. http://dx.doi.org/10.1162/octo_a_00390.

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This essay discusses some of the stakes involved in this issue's cluster of texts on women photographers of Weimar Germany. They are critical assessments by contemporary art historians that draw attention to the still unfinished feminist project of questioning disciplinary assumptions around gender, sexuality, labor, and technologies of reproduction. These essays accompany four new translations of articles written in the 1960s and ’70s by a participant of that historical moment, Lucia Moholy, whose early reflections on the historical avant-gardes anticipate its feminist critique.
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8

Weissman. "The Conniving Stenographer and Other Stories: A Response to “Authors, Resources, Audiences”." Style 52, no. 1-2 (2018): 56. http://dx.doi.org/10.5325/style.52.1-2.0056.

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9

Weissman, Gary. "The Conniving Stenographer and Other Stories: A Response to "Authors, Resources, Audiences"." Style 52, no. 1-2 (2018): 56–60. http://dx.doi.org/10.1353/sty.2018.0007.

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10

Andrianova, Irina. "THE IMAGE OF A STENOGRAPHER IN THE “FANTASTIC STORY” “A GENTLE SPIRIT” BY FYODOR DOSTOEVSKY." Проблемы исторической поэтики 16, no. 1 (March 2018): 155–72. http://dx.doi.org/10.15393/j9.art.2018.4941.

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11

Cloud. "Old Madge Refuses to Tidy the Garden & The Oracle's Stenographer Prepares for the Apocalypse." Fairy Tale Review 16 (2020): 27. http://dx.doi.org/10.13110/fairtalerevi.16.1.0027.

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12

Ivanova, Najda. "Fragments of the Slovenian linguistic picture of Serbia from the last decades of the XIXth century." Juznoslovenski filolog, no. 69 (2013): 223–44. http://dx.doi.org/10.2298/jfi1369223i.

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In recent article the role of the popular science book Bolgarija in Srbija (1897), written by the Slovenian stenographer, journalist, translator, pedagogist and writer Anton Bezensek (1854-1915), for the formation of Slovenian stereotypical attitudes towards Serbia in the last decades of the XXth century is examined. We analyze the principles of selection as well as the mechanisms of using elements, belonging to both the language of obesrving culture and the language of the observed one, for verbalizing the image of the Other, which are related to the sociocultural discourse, the individual and ideological orientation of the author, and last but not least, to the tematic and genre-and-stylistic features of the text itself. In this context, the necessity of systematic introduction of linguistic methods for exploring the imagological categories and their implementation in different types of text is emphasized.
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13

Bowles, Hugo. "Stenography and Orality in Dickens: Rethinking the Phonographic Myth." Dickens Studies Annual 48, no. 1 (September 1, 2017): 21–44. http://dx.doi.org/10.5325/dickstudannu.48.1.0021.

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Abstract Drawing on Steven Marcus's claim that by learning and practicing stenography in the law courts Dickens had essentially become a “written recording device for the human voice,” Ivan Kreilkamp has argued that Dickens brought the “phonographic innovations in voice writing” to the writing of the novel. The difficulty with this argument is that Dickens learned shorthand from a hybrid system—Thomas Gurney's Brachygraphy—that was radically different from the classic phonography of Isaac Pitman's Stenographic Shorthand. Unlike the Pitman system, which linked shorthand symbols directly to sound, the Gurney system mediated the link through letters—the learner had to memorize symbols which stood for letters rather than for sounds. This essay will argue that Brachygraphy's extra level of alphabetical mediation meant that Gurney shorthand was essentially, and unusually, a creative stenographic system. The nature of the creative language processing implicit in the learning of Gurney shorthand will be described and its implications for Dickens's writing processes will be discussed, drawing on examples which suggest that Gurney stenographic processes were themselves represented in Dickens's fiction and involved in episodes from his life. The overall influence of Gurney shorthand on Dickens's language processing suggests that theories regarding his legacy in relation to “orality,” particularly his position and role in “phonographic” interpretations of nineteenth-century culture, may have to be reconsidered. At the same time, we should recognize the importance of the Gurney method in influencing Dickens's creative use of language.
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14

Beddoes, M. P., and Zhongzhi Hu. "A chord stenograph keyboard: a possible solution to the learning problem in stenography." IEEE Transactions on Systems, Man, and Cybernetics 24, no. 7 (July 1994): 953–60. http://dx.doi.org/10.1109/21.297785.

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15

Carter, E. J. "Breaking the Bank: Gambling Casinos, Finance Capitalism, and German Unification." Central European History 39, no. 2 (May 19, 2006): 185–213. http://dx.doi.org/10.1017/s0008938906000082.

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In April 1867, Fyodor Dostoevsky left Russia for central Europe, in part to celebrate his marriage to Anna Gregorovich Snitkina, the young stenographer who had helped him compose The Gambler the previous fall. While that book freed him from the clutches of the publisher Stellovsky, who had advanced him money in exchange for a lien on his future works, it did not remove the larger financial destitution that threatened the new family, and fear of the debtor's prison clouded Dostoevsky's subsequent four-year sojourn in Europe. Residing first in Berlin and Dresden, he began to entertain thoughts of escaping his financial difficulties through gambling. In May, he traveled briefly to Bad Homburg; later, both he and Anna proceeded to Baden-Baden. Contrary to his hopes, life imitated art, and Dostoevsky was soon as hopelessly beset by the gambling demons as his fictional anti-hero, Alexei, and with as little success. By the end of the summer, he had pawned many of his and Anna's belongings and systematically lost the gifts sent from Russia by friends to bail them out. Finally on August 23, he managed to tear himself away from the tables. Over the next four years, he would gamble sporadically, but never with the same fervor he brought to Baden-Baden that summer. After returning to Russia in 1871, he gave up gambling entirely.
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16

Morrison, Hazel. "Constructing Patient Stories: ‘Dynamic’ Case Notes and Clinical Encounters at Glasgow’s Gartnavel Mental Hospital, 1921–32." Medical History 60, no. 1 (December 10, 2015): 67–86. http://dx.doi.org/10.1017/mdh.2015.69.

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This article contextualises the production of patient records at Glasgow’s Gartnavel Mental Hospital between 1921 and 1932. Following his appointment as asylum superintendent in 1921, psychiatrist David Kennedy Henderson sought to introduce a so-called dynamic approach to mental health care. He did so, primarily, by encouraging patients to reveal their inner lives through their own language and own understanding of their illness. To this effect, Henderson implemented several techniques devised to gather as much information as possible about patients. He notably established routine ‘staff meetings’ in which a psychiatrist directed questions towards a patient while a stenographer recorded word-for-word the conversation that passed between the two parties. As a result, the records compiled at Gartnavel under Henderson’s guidance offer a unique window into the various strategies deployed by patients, but also allow physicians and hospital staff to negotiate their place amidst these clinical encounters. In this paper, I analyse the production of patient narratives in these materials. The article begins with Henderson’s articulation of his ‘dynamic’ psychotherapeutic method, before proceeding to an in-depth hermeneutic investigation into samples of Gartnavel’s case notes and staff meeting transcripts. In the process, patient–psychiatrist relationships are revealed to be mutually dependent and interrelated subjects of historical enquiry rather than as distinct entities. This study highlights the multi-vocal nature of the construction of stories ‘from below’ and interrogates their subsequent appropriation by historians.
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17

Allen, Mark N., and Richard S. Meltzer. "Sonographers, Stenographers, and Sonologists." Journal of Diagnostic Medical Sonography 5, no. 3 (May 1989): 136. http://dx.doi.org/10.1177/875647938900500309.

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18

Valentine, Mark C. "Dermatologic stenography." Journal of the American Academy of Dermatology 53, no. 4 (October 2005): 659. http://dx.doi.org/10.1016/j.jaad.2005.05.025.

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19

Collinson, Helen. "Strong theoretical stenography." Computers & Security 14, no. 5 (January 1995): 414. http://dx.doi.org/10.1016/0167-4048(95)97104-i.

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20

Hunink, Vincent. "Was Apuleius’ Speech Stenographed? (Florida 9.13)." Classical Quarterly 51, no. 1 (July 2001): 321–24. http://dx.doi.org/10.1093/cq/51.1.321.

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21

Oakey, Jonathan E. "Real-time voice to text with stenographers." Journal of Microcomputer Applications 16, no. 3 (July 1993): 271–76. http://dx.doi.org/10.1006/jmca.1993.1027.

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22

Sussman, Mark. "Charles W. Chesnutt’s Stenographic Realism." MELUS: Multi-Ethnic Literature of the United States 40, no. 4 (October 17, 2015): 48–68. http://dx.doi.org/10.1093/melus/mlv045.

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23

Belyj, Konstantin Vyatcheslavovitch. "Stenographic transcriptions of reminiscences of the executives and employees of Moscow Automobile Factory as a source on socio-psychological aspects of the history of its establishment (1915-1924)." Исторический журнал: научные исследования, no. 3 (March 2020): 73–85. http://dx.doi.org/10.7256/2454-0609.2020.3.32298.

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This research is dedicated to stenographic transcriptions of reminiscences of the executives and employees of the Moscow Automobile Factory named after I. A. Likhachev (AMO ZIL). The goal consists in determination of information capacity of stenographic transcription of reminiscences as a source for studying the socio-psychological aspects of the history of industrial enterprises. The author examines the following aspects: reflection in stenographic transcriptions of the views of company’s executives and technician engineers upon the industrial process;  different aspects of economic culture of the company; socio-psychological image of employees and their relation to development of the company, local and nationwide sociopolitical processes, technological difficulties; perception of collective environment by the staff members; working and living conditions. In the course of study, the author applied socio-psychological and illustrative methods based on the comprehensive analysis of sources. As a result, the author determines high informational vale of stenographic transcriptions of reminiscences, demonstrate possibilities its implementation in studying socio-psychological aspects of the history of industrial enterprises, namely economic culture, mentality of technical officers and staff members, atmosphere inside the collective, motivation and incentive system for employees, role of interpersonal relations in establishment and functionality of the company, views of executives and technician engineers on the industrial process, etc. Previously unstudied archival materials were introduced into the scientific discourse.
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24

Dodds, Klaus, and Alan D. Hemmings. "Stenographers of Power: Reply to Haward and Bergin." Australian Journal of Politics & History 56, no. 4 (November 25, 2010): 617–19. http://dx.doi.org/10.1111/j.1467-8497.2010.01575.x.

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25

Arscott, Caroline. "Stenographic Notation: Whistler's Etchings of Venice." Oxford Art Journal 29, no. 3 (October 1, 2006): 371–93. http://dx.doi.org/10.1093/oxartj/kcl019.

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26

Fleissner, Jennifer L. "Dictation anxiety: The stenographer's stake inDracula." Nineteenth-Century Contexts 22, no. 3 (January 2000): 417–55. http://dx.doi.org/10.1080/08905490008583519.

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27

Kumar, Raj, and Sushma Pal. "Data security and privacy through stenography." Global Sci-Tech 10, no. 2 (2018): 98. http://dx.doi.org/10.5958/2455-7110.2018.00017.4.

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28

Xu, Chang An. "ALB: A Methodology for the Simulation of the Producer-Consumer Problem." Advanced Materials Research 937 (May 2014): 686–90. http://dx.doi.org/10.4028/www.scientific.net/amr.937.686.

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Stenographers agree that cacheable communications are an interesting new topic in the field of highly-available stochastic robotics, and experts concur. In fact, few electrical engineers would disagree with the development of wide-area networks. Our focus here is not on whether journaling file systems and gigabit switches can agree to surmount this challenge, but rather on introducing new symbiotic symmetries (ALB).
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29

Beddoes, M. P. "A talking stenograph for the blind." IEEE Control Systems Magazine 9, no. 4 (June 1989): 43–44. http://dx.doi.org/10.1109/37.24839.

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30

Tomaiuolo, Saverio. "Hugo Bowles, Dickens and the Stenographic Mind." Victoriographies 9, no. 3 (November 2019): 323–26. http://dx.doi.org/10.3366/vic.2019.0359.

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31

Miceli, Gabriele, Rita Capasso, Alessandra Ivella, and Alfonso Caramazza. "Acquired Dysgraphia in Alphabetic and Stenographic Handwriting." Cortex 33, no. 2 (January 1997): 355–67. http://dx.doi.org/10.1016/s0010-9452(08)70011-x.

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32

Menke, Richard. "Hugo Bowles. Dickens and the Stenographic Mind." Review of English Studies 71, no. 299 (September 30, 2019): 397–98. http://dx.doi.org/10.1093/res/hgz116.

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33

Killeen, Peter. "Scientific Stenography: Short-Hand or Short-Shrift?" European Journal of Behavior Analysis 13, no. 2 (December 2012): 215–16. http://dx.doi.org/10.1080/15021149.2012.11434426.

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34

Nayder, Lillian. "Dickens and the Stenographic Mind by Hugo Bowles." Dickens Quarterly 37, no. 3 (2020): 285–89. http://dx.doi.org/10.1353/dqt.2020.0035.

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35

Allison, Sarah. "Dickens and the Stenographic Mind by Hugo Bowles." Modern Language Review 116, no. 1 (2021): 170–71. http://dx.doi.org/10.1353/mlr.2021.0083.

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36

Libionka, Dariusz. "The Fighting and the Propaganda: The Uprising in the Warsaw Ghetto from the Perspective of ‘Polish London’." Zagłada Żydów. Studia i Materiały, Holocaust Studies and Materials (December 6, 2017): 11–41. http://dx.doi.org/10.32927/zzsim.708.

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The text talks about the reaction of the Polish government in London to the outbreak of the uprising in the Warsaw ghetto and Szmul Zygielbojm’s suicide. The author analyses stenographic records of the sessions of the Polish government in exile, daily logs of the president’s and PM’s activity, stenographic records of the National Council sessions, correspondence sent by the government to Warsaw, the content of official declarations of the government, and the Polish press between April and June 1943. The author reconstructs the government’s state of knowledge regarding the situation in Warsaw and presents the chronology of its popularisation. He also wonders what influence the-then political crisis (the German propaganda’s revelation of the massacre of Polish officers in Katyń and Stalin’s severance of diplomatic relations with the Polish government) had on the government’s approach to the situation in the occupied country, particularly with regard to the fighting in the Warsaw ghetto.
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Napetvaridze, Vladimeri, Tina Tskhovrebadze, Tamila Niparishvili, and Kristina Niparishvili. "Deliberation level of constitutional debates in Georgian Parliament." Politics in Central Europe 16, no. 1 (April 1, 2020): 309–25. http://dx.doi.org/10.2478/pce-2020-0014.

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AbstractIn the given paper a discourse quality index (DQI) tool, rooted to criteria elaborated by Jurgen Habermas’s in his discourse ethics, will be modified and used to assess the deliberation level of the 1995 Georgian Parliament. The methodology will accurately represent important principles of deliberation. Due to its focus on observable behavior and its detailed coding instructions, a discourse quality index can be a reliable measurement of the quality of political debates. The DQI for a parliamentary debate in the example of the 1995 parliament of Georgia will be illustrated in the given article. The parliamentarian debates concerning the adoption of the 1995 constitution of Georgia, according to its importance, will be taken as the specific case to be analysed. In the framework of the research, scholars will study and analyse over 200 pages of stenographic recordings of the parliamentary debates connected to the mentioned topic. The DQI score will be evaluated based on the analyses of the stenographic records.
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38

Inoue, Miyako. "Stenography and ventriloquism in late nineteenth century Japan." Language & Communication 31, no. 3 (July 2011): 181–90. http://dx.doi.org/10.1016/j.langcom.2011.03.001.

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Lovell, Stephen. "Stenography and the public sphere in modern Russia." Cahiers du monde russe 56, no. 2-3 (April 17, 2015): 291–325. http://dx.doi.org/10.4000/monderusse.8184.

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40

Regard, Marianne, Theodor Landis, and Roger Graves. "Dissociated hemispheric superiorities for reading stenography vs print." Neuropsychologia 23, no. 3 (January 1985): 431–35. http://dx.doi.org/10.1016/0028-3932(85)90031-4.

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41

Ndruru, Eferoni, and Taronisokhi Zebua. "Application of Text Message Held in Image Using Combination of Least Significant Bit Method and One Time Pad." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 13, no. 4 (October 31, 2019): 323. http://dx.doi.org/10.22146/ijccs.46401.

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Stenography and security are one of the techniques to develop art in securing data. Stenography has the most important aspect is the level of security in data hiding, which makes the third party unable to detect some information that has been secured. Usually used to hide textinformationThe (LSB) algorithm is one of the basic algorithms proposed by Arawak and Giant in 1994 to determine the frequent item set for Boolean association rules. A priory algorithm includes the type of association rules in data mining. The rule that states associations between attributes are often called affinity analysis or market basket analysis. OTP can be widely used in business. With the knowledge of text message, concealment techniques will make it easier for companies to know the number of frequencies of sales data, making it easier for companies to take an appropriate transaction action. The results of this study, hide the text message on the image (image) by using a combination of LSB and Otp methods.
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42

Taylor, Sue. "The Artist and the Analyst: Jackson Pollock's "Stenographic Figure"." American Art 17, no. 3 (October 2003): 53–71. http://dx.doi.org/10.1086/444624.

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43

Köhler, Mirko, Ivica Lukić, and Višnja Križanović Čik. "Protecting Information with Subcodstanography." Security and Communication Networks 2017 (2017): 1–13. http://dx.doi.org/10.1155/2017/9130683.

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In modern communication systems, one of the most challenging tasks involves the implementation of adequate methods for successful and secure transfer of confidential digital information over an unsecured communication channel. Many encryption algorithms have been developed for protection of confidential information. However, over time, flaws have been discovered even with the most sophisticated encryption algorithms. Each encryption algorithm can be decrypted within sufficient time and with sufficient resources. The possibility of decryption has increased with the development of computer technology since available computer speeds enable the decryption process based on the exhaustive data search. This has led to the development of steganography, a science which attempts to hide the very existence of confidential information. However, the stenography also has its disadvantages, listed in the paper. Hence, a new method which combines the favourable properties of cryptography based on substitution encryption and stenography is analysed in the paper. The ability of hiding the existence of confidential information comes from steganography and its encryption using a coding table makes its content undecipherable. This synergy greatly improves protection of confidential information.
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44

Cushman, Clare. "Fountain Pens and Typewriters: Supreme Court Stenographers and Law Clerks, 1910-1940." Journal of Supreme Court History 41, no. 1 (March 2016): 39–71. http://dx.doi.org/10.1111/jsch.12092.

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45

Siegfried, Tom. "From the editor: Disasters illustrate value of science ‘stenography’." Science News 179, no. 8 (March 28, 2011): 2. http://dx.doi.org/10.1002/scin.5591790802.

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46

Regard, Marianne. "Preserved Stenography Reading in a Patient With Pure Alexia." Archives of Neurology 42, no. 4 (April 1, 1985): 400. http://dx.doi.org/10.1001/archneur.1985.04060040114026.

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47

Chitty, Lynn. "Fetal stenographic biometry. A guide to normal and abnormal measurements." Early Human Development 50, no. 2 (January 1998): 227–28. http://dx.doi.org/10.1016/s0378-3782(97)00086-8.

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48

Sharot, Stephen. "Trans-National Adaptations of the Church Mouse, a Cross-Class Office Romance of the Early 1930s." Adaptation 13, no. 1 (July 26, 2019): 77–97. http://dx.doi.org/10.1093/adaptation/apz015.

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Abstract A Hungarian play, A Templom Egere (The Church Mouse), first performed in 1927, was adapted across nations on stage and for three film versions: the German Arm wie eine kirchenmaus (Poor as a Church Mouse, 1931), an American, Beauty and the Boss (1932), and a British, The Church Mouse (1934). All versions fuse a Cinderella theme with the prevalent discourse of the period on stenographers and secretaries as sexual attractions or as machines, identified with the typewriter, but the versions differ with respect to the heroine’s transformation from machine to alluring female and in their film styles, particularly in the extent and ways they ‘open-up’ the play.
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49

A. Al Smadi, Takialddin, and Mohammed Maitah. "An Efficiency and Algorithm Detection for Stenography in Digital Symbols." International Journal of Computer Network and Information Security 6, no. 1 (November 7, 2013): 34–38. http://dx.doi.org/10.5815/ijcnis.2014.01.05.

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50

Davidson, Adele. ""Some by Stenography"? Stationers, Shorthand, and the Early Shakespearean Quartos." Papers of the Bibliographical Society of America 90, no. 4 (December 1996): 417–49. http://dx.doi.org/10.1086/pbsa.90.4.24304886.

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