Changing Language, Changing Character Types

Author(s):  
Rebecca Lurie Starr
Keyword(s):  
2017 ◽  
Vol 52 (3) ◽  
pp. 446-455
Author(s):  
Ana Luiza Coiro-Moraes ◽  
Flavi Ferreira Lisbôa Filho
Keyword(s):  

Author(s):  
Sevgi Öztürk ◽  
Özge Vural ◽  
Kaan Meydan

The planning and management of landscapes have been reviewed in the European Landscape Convention (ELC) and the need to identify landscape character areas has been emphasized. The determination of Landscape Character Types (LCT) at the local level is of great importance in order to ensure sustainable development in rural areas, correct management of the shelter values and determination of usage strategies. In this study, which aims to evaluate rural settlements with character determination and sustainability approach, the landscape variables of Kastamonu-Gölköy settlement and its immediate surroundings are mapped and analysed with Landscape Character Analysis (LCA) approach. For this purpose, the geology, large soil groups, geomorphology, slope groups, are a usage maps of the area were digitized with Geographic Information Systems software and character types were determined by synthesizing them. As a result of the study, 133 landscape character types were determined. It is thought that the acquired character types will serve as a base in rural planning and landscape management studies carried out at the national and local level and will contribute to the formation of landscape policies.


2021 ◽  
Author(s):  
Jeff Lyon ◽  
Brent Yorgason

The Max Steiner corpus study is a long-term research project, drawing on the Max Steiner Collection at Brigham Young University, to catalog and analyze the music from all of Steiner’s film scores. This paper outlines the goals, processes, and potential future outcomes of this research. One of the main research goals of this project is to discover what kinds of melodies, harmonies, rhythms, and instruments Steiner used to represent different emotions and character types. Because of the amount of data needed to understand each of these elements thoroughly, this type of analysis can best be done through a corpus study. This data will be published as an interactive database that will allow the user to explore themes as they develop throughout a film as well as discover related themes in other film scores by Steiner. Transcriptions of themes will be displayed with Steiner’s annotations, film stills, and analytical data. This paper presents our findings to date and our plan to analyze, transcribe, and catalog the remaining films.


2021 ◽  
Author(s):  
Sabine Windmann ◽  
Patrick Stier ◽  
Lisa Steinbrück

To investigate peoples' trait attribution biases, we asked participants to generate faces of "bad guys" and "good guys" using three methods: free drawings, photo-editing, and feature assembly. In referring to research linking facial width (relative to height, fWHR) with aggressive and dominant personality traits in males, we compared fWHR displayed in the generated portraits between the two character types . We found that participants modelled emotional expressions (in particular, expression of anger and fear/friendliness), but not fWHR per se, to portray character trait. When emotional expressions were statistically controlled for, no difference in fWHR between "bad guys" and "good guys" remained. We conclude that emotion overgeneralization is a strong confound in research on fWHR.


Author(s):  
John Etty

This chapter investigates the reasons for, and implications of, the apparent absence in Krokodil's affirmative cartoons of positive character types, including Soviet political leaders. Without overstating their significance, it traces their "absent presence" by considering how, even when Soviet leaders were physically absent, their presence was still implied. Consequently, since images of those at the centre were so rare, we may describe Krokodil's affirmation of Soviet ideology visual discourse, de-centered. A performative reading of Krokodil's cartoons about ordinary citizens enables us to interpret the journal's own performance of its own acts of engagement with all the dominant popular-official themes of the Thaw era, notably the Space Race. By analyzing the graphic construction of cartoons affirming Soviet ideology from the post-Stalin period, we may understand more fully the magazine's performances of memory and critiquing present and past achievements.


2018 ◽  
pp. 93-122
Author(s):  
Kristen Hoerl

This chapter looks at how the motion picture Forrest Gump and the ABC miniseries The ‘60s contributed to heteronormative and gendered meanings about the counterculture and anti-Vietnam War movements. The interpersonal conflicts portrayed in this movie and miniseries metaphorically represent the nation divided by disagreement over the Vietnam War and changing family structures. Through a discussion of three recurring character types—the good citizen, the ambivalent activist, and the macho militant—, this chapter argues that Forrest Gump and The ‘60s constructed narratives of national reconciliation and white masculine redemption. These narratives contributed to the backlash against feminism that animated political campaign and policy rhetoric during the mid-to-late nineties.


2020 ◽  
pp. 61-80
Author(s):  
Joyce Goggin ◽  
Merlijn Erken ◽  
Frans De Bruyn ◽  
Henk Looijesteijn ◽  
Helen J. Paul ◽  
...  

This short comic harlequinade is written in the rich and enormously popular theatrical tradition of the Italian commedia dell’arte, imported into the Netherlands via France. Langendijk borrows a range of well-known commedia character types to populate his farce. In a series of twelve scenes he tells the story of Capitano. who plans a voyage to the South Sea (the Mississippi country) to trade in shares. Harlequin, himself a speculator in shares, undertakes to sell Capitano provisions for his voyage. When Capitano discovers that the provisions Harlequin has sold him are nothing but wind-filled bladders and animal guts, a battle ensues between two squadrons armed with inflated pig’s bladders. The cowardly Capitano faints from shock, and Harlequin is taken captive but is set free when he promises to bequeath his paper shares to his captors. The play concludes with Harlequin auctioning off a candle stub, which is handed back and forth between the characters until Gilles, who buys the candle, burns his fingers and drops the stub on a pile of shares that go up flames. The foolish investors are left with nothing, an ending that provides a comic warning to those who risk being burnt by the bubble craze.


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