Thematische Bibliographien / Actor-Character

Auswahl der wissenschaftlichen Literatur zum Thema „Actor-Character“

Autor: Grafiati
Veröffentlicht am 25. Mai 2024

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Zeitschriftenartikel zum Thema "Actor-Character"

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Tennent, Hamish, Dylan Moore und Wendy Ju. „Character Actor“. Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 1, Nr. 4 (08.01.2018): 1–23. http://dx.doi.org/10.1145/3161407.

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IORGA, Anca. „The actor and his character“. Theatrical Colloquia 13, Nr. 1 (15.05.2023): 71–82. http://dx.doi.org/10.35218/tco.2023.13.1.09.

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"The analysis presented in this paper has as a starting point the empathy of the performer with the character, which is based on the combination of imagination and emotional experience. The hypothesis starts from the fact that we must have an above average level of imagination and empathic level, in order to be able to improve through learning the elaboration capacity of the student actor. In this context, the objectives of the study are applied and aim to improve the learning process. The research method started from the analysis and study of a Chekhov workshop, in which students performed scenes from the best-known plays by this author. The choice of this workshop was due to the fact that Chekhov is a master of psychological introspection, his characters being very well defined. The evaluation aimed at the level of the stage transposition capacity of the students in the characters. The results took into account, on the one hand, the level of recognition of the situations and, on the other hand, the empathy and the ability of the students to render towards the imagined character. At the same time, the aim was to determine the gap that appeared between the students' mental project and their stage realization."
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Rajewsky, Irina. „Schauspieler, Figur, Rolle“. Zeitschrift für französische Sprache und Literatur 131, Nr. 1-2 (2021): 85–110. http://dx.doi.org/10.25162/zfsl-2021-0004.

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BAYRAK, TAMER. „CHARACTER IN CINEMA: SADRİ ALIŞIK AS A CHARACTER ACTOR“. Turkish Online Journal of Design, Art and Communication 4, Nr. 2 (01.04.2014): 105–22. http://dx.doi.org/10.7456/10402100/008.

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Damen, Mark. „Actor and Character in Greek Tragedy“. Theatre Journal 41, Nr. 3 (Oktober 1989): 316. http://dx.doi.org/10.2307/3208183.

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Harding, Frances. „Actor and Character in African Masquerade Performance“. Theatre Research International 21, Nr. 1 (1996): 59–71. http://dx.doi.org/10.1017/s0307883300012712.

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Gao, Guangyu, Mengdi Xu, Jialie Shen, Huadong Ma und Shuicheng Yan. „Cast2Face: Assigning Character Names Onto Faces in Movie With Actor-Character Correspondence“. IEEE Transactions on Circuits and Systems for Video Technology 26, Nr. 12 (Dezember 2016): 2299–312. http://dx.doi.org/10.1109/tcsvt.2015.2504738.

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Baruah, ManashP, Sanjay Kalra und Salam Ranabir. „Metformin; A character actor in the leptin story!“ Indian Journal of Endocrinology and Metabolism 16, Nr. 9 (2012): 532. http://dx.doi.org/10.4103/2230-8210.105569.

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Tal-Or, Nurit, Shani Sela, Israel Igumnov, Hanoch Dov Milwidsky, Benjamin Rafaeli und Michael Sanilevich. „Does What We Know About Actors’ Real Lives“. Journal of Media Psychology 33, Nr. 3 (Juli 2021): 155–64. http://dx.doi.org/10.1027/1864-1105/a000293.

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Abstract. The current study examines the effect of the valence of information provided about an actor on viewers’ identification with the character played by that actor and enjoyment of watching the film. The results from an experiment we conducted demonstrate that the valence of information about an actor influences identification with the character through the mediation of perceptions about the character’s traits and through transportation into the narrative. Information about the actor also indirectly affects the enjoyment of watching the film. We discuss these effects using the concepts of mental models, priming, and the fundamental attribution error as well as transportation theory.
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Edgerton, Gary R., und Michael T. Marsden. „Character Actor as Shapeshifter: An Interview with Doug Jones“. Journal of Popular Film and Television 47, Nr. 4 (02.10.2019): 186–97. http://dx.doi.org/10.1080/01956051.2019.1654789.

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Dissertationen zum Thema "Actor-Character"

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Soule, Lesley Anne. „Character, actor and anti-character“. Thesis, University of Exeter, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387186.

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CRESPO, DANIEL RISI VIANNA. „THE DIGITAL ACTOR: A CHARACTER DESIGN PERSPECTIVE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12251@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação tem como objetivo analisar os aspectos de design envolvidos na credibilidade de personagens geradas através de computação gráfica, que operam como efeitos especiais em filmes de ação ao vivo. Para isto, é apresentada a hipótese de que se trata de uma categoria ontologicamente discreta de personagens - propondo-se a nomenclatura atores digitais para designá-la - cujo processo de design se baseia em três contextos de desenvolvimento: os níveis diegético, imagético e tecnológico. Essa proposição é investigada através da metodologia do estudo de caso, utilizando-se a criatura Gollum, da trilogia cinematográfica O Senhor Dos Anéis (2001-2003). A análise das variáveis intrínsecas a cada um dos contextos citados indica que, de fato, essas personagens clamam por uma abordagem original de design, sugerindo novos papéis e novas habilidades para o designer.
This paper aims to analyze the design aspects responsible for the believability of computer generated characters in live-action movies. This research proposes the hypothesis that synthetic thespians constitute an ontologically distinct category of characters - to which the term Digital Actor is proposed - based upon a design process that involves three development contexts: the diegetic, the perceptual and the technological levels. In order to carry out such investigation, the case study methodology is used, in which the creature Gollum, from the movie trilogy The Lord of the Rings (2001-2003) is analyzed. The intrinsic variables investigated in this case show that Digital Actors in fact suggest an original design approach and therefore a new role for the designer.
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Haarhoff, Emil Ernst. „Embodied shiftings to bridge actor-character dissonance“. Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/78618.

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When a script stipulates actions, gestural routines and mental models for a character that clash with the personal values of the actor, it creates dissonance between what the actor (as person) believes, represents or feels, and that which the character (as fictional construct) is interpreted to represent. This dissonance may negatively impact on the believability of the actor inhabiting the ‘as if’ world of the character, or stifle actor engagement with the fictional world. This study proposes a theoretical approach to navigating this potentially performance- restricting dissonance through a cross-disciplinary approach that draws on various disciplines, theories and models. It includes, but is not limited to embodiment, Neuro-Linguistic Programming, Multi-Level Neuro Processing and exposure strategies. Habitual patterning, personal restrictions, behaviours, values, socio-cultural and politico- historical paradigms, socialisation, cognitive dissonance, impulse avoidances and others are subjectively sculpted and embodied in and through lived experiences. In articulating this approach, the study places emphasis on practical guiding and enabling of the actor to manage these embodied and lived experiences, personal values and subjective restrictions in relation to performance material that the actor perceives to be challenging and uncomfortable. This study aims to facilitate ways to navigate actor-character dissonance, whilst remaining sensitive to actors and their respective processes in engaging with, and depicting, a character in a competent and believable manner. Instead of forcing actors to work through restrictions or preventing talented actors from auditioning or participating in a production due to their seemingly unmanageable dissonances and bodyminded non-consent, this study argues for possible solutions to manage contradictory values and stances respectfully, through a multilayered and multidisciplined process. This empirical study was located in a qualitative research paradigm, using qualitative methodologies. The intervention design was based on existing scholarship, as reflected in chapters two to five. To limit the scope of the study, the focus was on nudity and the intimacy surrounding nudity in performance. The study used action research to strategise, implement and reflect on the practical intervention strategy. Data collection took place through practice- based experiences and observations. The research process was realised in three phases ranging from private to semi-public, to explore the hypothetical strategy with a selection of trained male actors. The research phases are discussed in chapters one and six. Phase one consisted of three one-on-one conversation-based coaching sessions calibrating and unpacking the participants’ thinking, perspectives, perceived consequences and limiting beliefs regarding performance-based nudity. Phase two was an optional phase and participants volunteered to engage in this phase after completing phase one. This phase consisted of a three-day workshop, implementing and embodying the tailored research techniques and strategies to alleviate discomforts regarding performance-based nudity. Phase three was another optional phase. Here, the intervention strategy was applied to text. A new play was written specifically for these purposes, entitled Love, and how? This play offered an array of actions which challenged the actors’ subjective and unique discomforts. The purpose of this challenge was to assess the hypothetical facilitation strategy in a real-life simulation of a professional rehearsal process, culminating in two closed performances. The qualitative findings of this study conclude that the integration of these multidisciplinary processes aid the actors in alleviating tension and approaching dissonance in performance with increased control and nuanced acting. In addition, they introduced mid-performance coping mechanisms, derived from these processes, thus enabling the actor to continue to perform safely.
Thesis (PhD)--University of Pretoria, 2020.
Drama
PhD
Unrestricted
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Turri, Maria Grazia. „A psychoanalytic perspective on theories of spectator-character and actor-character identification in the theatre“. Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18738.

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From Aristotle’s theory of tragic katharsis to Brecht’s formulation of the Verfremdungseffekt, theorists of the theatre have long engaged with the question of what spectatorship entails. Such question has, directly or indirectly, extended to the investigation of acting. In the wake of Brecht’s critique of conventional theatre, emphasis has been put on the study of spectatorship from the point of view of its cultural determinants and its conscious cognitive aspects, while unconscious processes have been mostly ignored. In this thesis I take a psychoanalytic perspective to analyse theories of the theatre that have investigated the process of identification of the spectator or the actor with the character. According to psychoanalysis, mechanisms of unconscious identification, such as projection and introjection, are fundamental to psychic development and to the construction of the self. By analysing Aristotle’s theory of tragic katharsis through Freud’s theory of transference, I propose a new understanding of spectatorship as transference dynamic. I then conduct an in-depth enquiry into eighteenth-century theories of acting which lead up to Diderot’s Paradoxe sur le comédien. I investigate the paradox of the actor, in its fruitful tension between sensibility and understanding, from the perspective of Melanie Klein’s concept of unconscious phantasy and Bion’s theory of alpha-function. I hence interpret the art of the actor as the performing of alpha-function on the spectator’s unconscious emotions. The new insights afforded by a psychoanalytic perspective of spectating and acting illuminate the moral function of theatre and resolve some of the controversial points brought forward by various theorists, including Brecht and Rousseau. The moral function of theatre can be construed as a transpersonal process in which unconscious identifications between spectator and actor promote the development of a reflective view of the self.
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Wilson, Chris. „Margaret Rutherford, Alastair Sim, eccentricity and the British character actor“. Thesis, Sheffield Hallam University, 2005. http://shura.shu.ac.uk/17393/.

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The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. In order to determine their enduring appeal, the first section, 'Biographical Perspectives', uses the actors' respective biographies to combine their very distinct identities, anchor them in the time in which they lived, and indicate their value and importance to the industry. The second chapter explores the complex relationship between the British cinema and the theatre, especially as it is revealed in the work of both actors. There follows a survey which addresses notions around Britishness and eccentricity, and their interconnections, their representation in Sim and Rutherford's films, and recent debates about what these attributes constitute now. The fourth part engages in a broader discussion of the art of character acting and the specific contribution made by the screen appearances of the two stars. If the introduction and subsequent chapters attempt to bring Sim and Rutherford together, the conclusion presents the contrasts between them. However, their continuing fascination is very much revealed through the interaction of their life and work and especially the influence of their respective spouses. The relationship between their stage and cinematic output informs some of their best work in both media, although their Britishness and eccentricity can, at different times, be both an asset and a limitation. Ultimately, Sim and Rutherford are defined as flexible and diverse character actors, although a synthesis of their various aspects - cinematic, theatrical, eccentric, British, character actors - offers a more complete designation of their individuality. Above all, they exemplify the primacy of performance in British cinema. Future research might concentrate on their theatre work or reactions to them by their fellow actors, and could also usefully incorporate the largely unrecognised legacy of so many other character players.
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Councell, Catie. „Killing the goose“. Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6087.

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This statement of process parses out the techniques utilized when creating a character for performance, specifically focused on examples from three years of graduate studies in acting. The paper identifies and analyzes the challenges an actor encounters, and the tools an actor utilizes when crafting a character. The goal of the process paper is to identify common techniques generally, as well as examining specific techniques used infrequently. The paper concludes with a statement of the state of the artist.
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Witting, Carrie L. „The character within the actor a journey through myself to find Manya /“. Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=4017.

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Tukachinsky, Riva. „Processing Mode and Actor-Character Congruency as Moderators of Narratives' Effects on Viewers' Attitudes“. Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222836.

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The study examined the ways in which individuals manage inconsistent information about actors and fictional character that the actors play. Previous research suggested that people tend to attribute characters' characteristics to the actors. Therefore, actor-character inconsistency might be deemed as hypocritical and undermine the effects of the media content. However, this effect was hypothesized to be moderated by information processing mode. Specifically, when viewers transport into the narrative, namely, become absorbed in the story, they are not able to integrate actor information with character information. Similarly, when processing the message heuristically, viewers lack sufficient cognitive resources to integrate actor information. Thus, it was hypothesized that character incongruence will only diminish media effects when viewers process the media content critically. These hypotheses were explored in the context of perceptions of cosmetic surgery and sexual objectification of women. Participants read a fictitious interview in which the actor Raymond Romano expressed either approval of breast augmentation procedures or criticized this practice. Then, participants watched an edited segment from an Everybody Loves Raymond episode in which Romano played the role of a character that encouraged his wife to undergo cosmetic surgery. Viewers were requested to engage in issue elaboration, encouraged to transport into the show (narrative elaboration) or had to complete a distraction task while watching (heuristic processing). They listed all the thoughts they had during the media exposure and completed questionnaires assessing attitudes towards cosmetic surgery and sexual objectification of women. The same measures were completed again, one week after the lab session. Analysis of viewers' reported thoughts indicated that the manipulation successfully induced the different types of processing. Further, participants in the issue elaboration condition tended to generate both message consistent thoughts and counter-augments, whereas participants in the narrative elaboration condition generated few counter-arguments. In the heuristic processing condition, viewers listed very few thoughts, and did not counter-argue with the message. However, narrative consistent or inconsistent thoughts did not affect persuasion. Finally, incongruence between the actor and the character did not reduce persuasiveness of the message or hinder actor's likability, suggesting that viewers successfully maintain separate actor and character schemas.
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O'Rourke, Kevin. „Performing The Zoo Story and writing Morality Day two character development processes exploring character development challenges for the actor and the playwright /“. Connect to resource, 2009. http://hdl.handle.net/1811/37146.

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Egocheaga, Ramos Karina Ximena. „La complementación entre el guion, actuación y la dirección de arte para la creación del personaje Kevin Wendell Crumb en la película Fragmentado“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652125.

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El presente trabajo de investigación abarca el tema de la complementación en el guion, actuación y dirección de arte para la creación del personaje de Kevin Wendell Crumb. Esto se debe a que muchas veces, no se toman en cuenta estos elementos para crear determinados personajes en las películas.
The present research work covers the subject of complementation in the script, acting and art direction for the creation of the character of Kevin Wendell Crumb. This is because many times, these elements are not taken into account to create certain characters in the films.
Trabajo de investigación
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Bücher zum Thema "Actor-Character"

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Character actor. Winnipeg, Man: Signature Editions, 2008.

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Mirodan, Vladimir. The Actor and the Character. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433.

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Il-sŏng, Kim. The character and the actor. Pyŏngyang, Korea: Foreign Languages Pub. House, 1987.

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Movement: From person to actor to character. Lanham, Md: Scarecrow Press, 1998.

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Soule, Lesley Wade. Actor as anti-character: Dionysus, the Devil, and the boy Rosalind. Westport, Conn: Greenwood Press, 2000.

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The audience as actor and character: The modern theater of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard, and Williams. Lewisburg [Pa.]: Bucknell University Press, 1989.

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Hall, Parnell. Actor. New York: Mysterious Press, 1993.

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Cowell, Stephanie. Nicholas Cooke, actor, soldier, physician, priest: A novel. New York: W.W. Norton, 1993.

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An actor, and a rare one: Peter Cushing as Sherlock Holmes. Lanham, Md: Scarecrow Press, 2001.

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Jok, Church, Wyatt Ed und TVbooks inc, Hrsg. Beakman's world: A visit to the hit TV show. Kansas City: Andrews and McMeel, 1993.

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Buchteile zum Thema "Actor-Character"

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Mirodan, Vladimir. „Imagining the character“. In The Actor and the Character, 135–53. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-10.

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Mirodan, Vladimir. „Experiencing the character“. In The Actor and the Character, 154–73. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-11.

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Mirodan, Vladimir. „An independent character“. In The Actor and the Character, 11–22. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-2.

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Mirodan, Vladimir. „Constructing the character“. In The Actor and the Character, 51–73. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-6.

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Mirodan, Vladimir. „The drama of no character“. In The Actor and the Character, 41–47. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-5.

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Hartley, Andrew James. „Character, Agency and the Familiar Actor“. In Shakespeare and Character, 158–76. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230584150_9.

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Mirodan, Vladimir. „Introduction“. In The Actor and the Character, 1–7. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-1.

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Mirodan, Vladimir. „Deception, self-deception and the transformative actor“. In The Actor and the Character, 174–83. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-12.

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Mirodan, Vladimir. „A brief history of . . . type“. In The Actor and the Character, 23–32. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-3.

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Mirodan, Vladimir. „Friends for life“. In The Actor and the Character, 33–40. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433-4.

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Konferenzberichte zum Thema "Actor-Character"

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Baran, Remigiusz, Filip Rudzinski und Andrzej Zeja. „Face Recognition for Movie Character and Actor Discrimination Based on Similarity Scores“. In 2016 International Conference on Computational Science and Computational Intelligence (CSCI). IEEE, 2016. http://dx.doi.org/10.1109/csci.2016.0249.

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Schiffer, Sheldon. „Game Character Facial Animation Using Actor Video Corpus and Recurrent Neural Networks“. In 2021 20th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2021. http://dx.doi.org/10.1109/icmla52953.2021.00113.

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Ghilas, Ana. „Traditional cultural expressions in theatrical performance: meaning and value“. In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.02.

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The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the traditional Romanian song, of the nuptial ceremony ”Iertarea miresei” /Forgiveness of the bride”, of the rite of passage “Moşii/Forefathers” in the spectacular universe created by directors in different theaters. These traditional forms promote and affirm identity marks – of the ethnic group and of the creative individuality (playwright, director, set designer, actor), but also the intercultural character of some shows.
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M. Ali Jabara, Kawthar. „The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.
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Olivares González, Adriana I., und Tania Córdova Martínez. „Coastal landscape management in mexican tourist regions: Punta de Mita case in Bahía de Banderas, Nayarit“. In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8157.

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This article analyzes the process of coastal landscape management in the Mexican tourist region from the transformation of the landscape of Punta de Mita. This peninsula is part of the interstate metropolitan zone of Puerto Vallarta - Bahía de Banderas, located between the State of Jalisco and State of Nayarit. It is one of three coastal metropolitan zones of Mexico. This research has a qualitative approach and adopts the concept of the landscape defined by the European Landscape Convention as “any part of the territory, as perceived by people, whose character is the result of the action and interaction of natural and/or human factors” (Council of Europe, 2000). The units of analysis were the peninsular zone of Punta de Mita and the actors who participated in their transformation. The information was collected through semi-structured interviews with key informants selected using the snowball technique, qualitative observation, review of official documentary sources (plans, projects, reports) as well as historiographical and aerial photographs. The identification of the participation of each type of actor is highlighted in the transformation of the landscape: the State provides the land and enables for tourism investment; economic actors take ownership and monetize their aesthetic values; social actors are deprived of the use and enjoyment of the landscape. The symbols printed on the territory are mainly touristic and, in the second instance, natural whose conservation represents a point of agreement between the state and the residents.
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OANCEA-NEGESCU, Mihaela Diana, Petrut Cristian VASILACHE, Oana Matilda SABIE und Ovidiu Andrei Cristian BUZOIANU. „STATISTICAL ANALYSIS OF THE POPULATION OF ECONOMIC AND SOCIAL OPERATORS: ROMANIA-FRANCE COMPARISON“. In International Management Conference. Editura ASE, 2022. http://dx.doi.org/10.24818/imc/2021/01.21.

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Economic and social operators have always played a special role in the economic and social life of any country, being the basis of economic development. Dynamism, flexibility, adaptability, innovative potential are some of the characteristics that economic and social operators have and are considered important for the development of the economy of any state. They have played over time an important role in the development of the economy, by creating jobs, increasing competition and innovation, contributing to the dynamism and unity of the market. The positive effects generated by them are multiple, the most important are the improvement of the competitive environment, the creation of opportunities for development and adaptation to new technologies, the occupation of market niches that are not profitable for large companies. Economic and social operators have always been the main actor in the economic and social life of any nation, being the necessary basis for the development of the economy. The dynamic and flexible character, the adaptability, the innovative capacity represent some of the elements that they have and that are considered important for the harmonious progress of the economy of any state.The paper analyzes the importance of the development of companies in any market economy, the possible effects of the increase / decrease of this population on the economy of the respective countries, differences between the analyzed countries and presents the role of SMEs in the local economy.
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Cruceru, Valerica. „FROM A TRADITIONAL LEARNING STYLE TO A HYBRID ONE: THE DOCTORAL PROGRAMS AT THE "CAROL I" NATIONAL DEFENSE UNIVERSITY“. In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-065.

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The eLearning programs have emerged as powerful tools that change the educational style on a global scale and "The Carol I" National Defense University of Romania has become a leading actor in this domain. This paper brings forward the results of a short case study with facts related to the current costs and benefits of the doctoral studies, followed by proposals about the implementation of a hybrid/blended learning program in the future. The doctoral programs organized by the university since 1968 have used mainly the traditional face to face approach, providing a rigorous, but limited learning experience. Since 2011 the internet has become an important tool used by Ph.D coordinators and doctoral students to communicate, but that is an irregular pattern, just a piece in the puzzle of hybrid learning. The case study shows that doctoral programs developed around a traditional learning style are time and money consuming, offering a limited amount of sources for a valuable scientific research, so the doctoral students have limited opportunities. For a couple of years our university has access to national and international data bases, and the Distance Learning Department provides scientific materials and specific courses. It is obvious that we have some of the necessary tools, and is about time to design and implement doctoral programs based on a hybrid/blended learning style. We should develop programs where students can get classes, access course bibliography and conduct research online; the face to face interaction with Ph.D coordinators has to give space for electronic interaction, using synchronous and asynchronous means. In fact we should take steps to develop and implement a doctoral program based on a type of learning that includes a combination of face-to-face classroom/tutorial sessions, live eLearning and self-paced research activities. We advocate the use of a hybrid learning style because it is ideally suited for doctoral programs, where students mainly need guidance, in order to develop knowledge. A hybrid learning style means continuity, opportunity and gives an active character to the scientific research. A hybrid learning style allows the doctoral school to function as a lively body, in full consonance with the evolution of a knowledge based society.
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Godfroy-Cooper, Martine, Jean-Christophe Sarrazin, B. Bardy, E. Bachelder und J. D. Miller. „Differential Role of Gravitoinertial Cues for Active and Passive Control in Degraded Visual Environments“. In Vertical Flight Society 78th Annual Forum & Technology Display. The Vertical Flight Society, 2022. http://dx.doi.org/10.4050/f-0078-2022-17506.

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Future vertical lift (FVL) missions will be characterized by increased agility, degraded visual environments (DVE) and optionally piloted vehicles (OPVs). Increased agility will induce more frequent variations of linear and angular accelerations, while DVE will reduce the structure and quality of the out-the-window (OTW) scene. As rotorcrafts become faster and more agile, pilots are expected to navigate at low altitudes while traveling at high speeds. In contour terrain flight, the perception of self-position and orientation provided by visual, vestibular, and proprioceptive cues can vary from moment to moment due to visibility conditions and body alignment as a response to gravitoinertial forces and internally/externally induced perturbations. As a result, erroneous perceptions of the self and the environment can arise, leading ultimately to spatial disorientation (SD). In OPV conditions, the use of different autopilot modes transforms the pilot's role from active pilot to systems supervisor. This shift in paradigm, where pilotage is not the primary task, and where feedback from the controls is not available, has important consequences. Indeed, space perception can be strongly modulated by the nature of the displacement in space. Considering the relationships between the level of automation (LOA) and sense of agency (SoA), it is of particular interest to examine whether motor control mechanisms can modulate the level of visual-vestibular integration in tasks of movement perception vs. movement control. An experiment was conducted using the NASA AMES vertical motion simulator (VMS) to evaluate the effects of optical and gravitoinertial cues in the assessment of altitude in contour terrain flight. Seven U.S. Army pilots participated in the experiment. The aim of the proposed research was a) to establish the relative contribution of visual and gravitoinertial cues as a function of the quality of the visual cues (good vs. degraded) and the presence or absence of gravitoinertial cues; b) to determine the role of manual control vs. supervisory monitoring control on the estimation of altitude, and c) study the interactions between the nature and the quality of the sensory cues and the type of control. For the supervisory control condition, the results showed that the gravitoinertial component played a significant role in the estimation of ground height, but only in the case where the optical structure did not efficiently specify the actor-environment interaction. Meanwhile, the results for the manual control task provided evidence, at multiple levels, that the acceleration information, specified by the variations of the gravitoinertial field, has a relative character. Altogether, these results are in line with the Sensory Weighted Approach of perception, which proposes that each sensory cue is weighted depending on this reliability: gravitoinertial information is attenuated when the visual information is relevant while it enhances performance when the visual information is poor.
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