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Books on the topic 'Tim Characters'

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Author: Grafiati

Published: 10 December 2022

Last updated: 30 January 2023

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1

Funke, Cornelia Caroline. Tim mực: Tintenherz. Thành phố Hồ Chí Minh: NXB Tr̉e, 2006.

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2

Cox, R. David. Character in time: The US presidents. Galax, Va: History Project, 1997.

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3

Durbridge, Francis. Tim Frazer Again. London: Arcturus, 2013.

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4

Gareth, Adamson, ed. Little Shoppers (Topsy + Tim). London: Ladybird, 1999.

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5

Saunders, Catherine. Disney princess enchanted character guide. New York: DK Publishing, 2014.

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6

Slices through time: Greater Manchester's historic character revealed. Lancaster: Oxford Archaeology, 2012.

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7

Topsy + Tim go camping. London: Ladybird, 2007.

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8

Gareth, Adamson, ed. Topsy and Tim go camping. London: Ladybird, 2010.

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9

The throat. London: HarperCollins, 1994.

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10

The throat. New York: Dutton, 1993.

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11

Straub, Peter. The throat. London: HarperCollins, 1993.

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12

No Main Character: Time for the Other Characters. Independently Published, 2020.

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13

Posche, Joshua. Nightmare Before Christmas Coloring Book Made Simple: Over 40+ High Quality Coloring Pages of the Most Extraordinary Tim Burton's Nightmare Before Christmas Characters. Independently Published, 2020.

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14

No Main Character: The Characters Arrived Just in Time. Independently Published, 2020.

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15

Anderson, Suzane. Adventure Tim Coloring Book: Color Your Favorite Characters . Great Coloring Book for Kids and Adults, Teens and Kids Perfect Gift🎁 for All Holiday. to Relax and Have Fun. Independently Published, 2022.

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16

Tardy Tim, Dependability (Character Classics). Little Star Entertainment, 2001.

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17

Smith, Murray. Engaging Characters. 2nd ed. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871071.001.0001.

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Characters—those imaginary agents populating the fictional worlds we spend so much time absorbed in—are ubiquitous in our lives. We track their fortunes, judge their actions and attitudes, and respond to them with anger, amusement, and affection—indeed, the whole palette of human emotions. Often enough, powerfully drawn characters transcend the stories to which they owe their genesis, migrating into our imaginations and deliberations about the actual world. And yet there has been remarkably little sustained and systematic reflection on these creatures that engage our minds and shape our feelings in equal measure. In Engaging Characters, Murray Smith sets out a comprehensive theory of character, exploring the role of characters in our experience of narrative and fiction. While focussing on film, Smith’s analysis also illuminates character in literature, opera, song, cartoons, new media, and social media. At the heart of Smith’s account is an explanation of the capacity of characters to move us. Teasing out the different dimensions of character, Smith explores the means by which films draw us close to characters, or hold us at a distance from them, and how our beliefs and attitudes are formed (and sometimes reformed) by these encounters. Integrating these arguments with research on emotion in philosophy, psychology, evolutionary theory, and anthropology, Engaging Characters advances an account of the nature of fictional characters and their functions in fiction, imagination, and human experience as a whole. Opening with a Foreword by David Bordwell, in this revised, twenty-fifth anniversary edition of Engaging Characters, Smith refines and extends the arguments of the first edition, with a substantial new Afterword reviewing the debates on emotion, empathy, and character inspired by the book.

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18

Adamson, Gareth, and Jean Adamson. Topsy & Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 1999.

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19

Adamson, Gareth, and Jean Adamson. Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 1999.

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20

Right on Time (Character Concepts). Abdo Publishing Company, 2007.

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21

Ash, Lorraine. Jackson : Character in Time : The US Presidents (Character in time : the US presidents). History Project, 1999.

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22

Marston, Kendra. Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.001.0001.

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This book is the first extended study into the politics of whiteness inherent within postfeminist popular cinema. It analyses a selection of Hollywood films dating from the turn of the millennium, arguing that the character of the ‘melancholic white woman’ operates as a trope through which to explore the excesses of late capitalism and a crisis of faith in the American dream. Melancholia can function as a form of social capital for these characters yet betrays its proximity to a gendered history of emotion and psychopathology. This figure is alternately idealised or scapegoated depending on how well she navigates the perils of postfeminist ideology. Furthermore, the book considers how performances of melancholia and mental distress can confer benefits for Hollywood actresses and female auteurs on the labour market, which in turn has contributed to the maintenance of white hegemony within the mainstream US film industry. Case studies in the book include Black Swan (Darren Aronofksy 2010), Gone Girl (David Fincher 2014) and Alice in Wonderland (Tim Burton 2010).

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23

Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 1999.

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24

Adamson, Gareth, and Jean Adamson. Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 1999.

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25

Adamson, Gareth, and Jean Adamson. Topsy and Tim (Topsy & Tim). Ladybird Books Ltd, 1999.

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26

Edward, Ardizzone. Tim in Danger (Little Tim). Frances Lincoln, 2006.

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27

Tim in Danger (Little Tim). Scholastic Hippo, 2002.

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28

Maloney, J. Christopher. Intentionalism’s Troubles Begin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190854751.003.0003.

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This chapter puzzles over intentionalism’s odd exportation of the phenomenal character of perceptual experience. Evidently, a perceptual state's phenomenal character is intrinsic to the state while its content is not. So, intentionalism’s reduction of character to content stumbles right out of the blocks. Also, but contrary to fact, if content were phenomenally determinative, all cognitive states with the same content would have the same character. Since perceptual content admits of minimal logical or conceptual complexity, over time a perceiver may find herself in perceptual states that have the same content but, contrary to intentionalism, different phenomenal characters. Moreover, throughout a continuous period of phenomenally stable conscious perception a perceiver might reason from, or about, her experiential content. Her reasoning would ensure fluctuation in her cognitive content despite the constancy of her phenomenal character. In short, perceptual content’s availability to cognition generally undermines intentionalism. Content does not determine character.

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29

DeMarco, Ph D. Donald. Character in a Time of Crisis. Central Bureau, CCVA, 1997.

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30

Rosen, Jeremy. Minor Characters Have Their Day. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177443.001.0001.

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How do genres develop? In what ways do they reflect changing political and cultural trends? What do they tell us about the motivations of publishers and readers? Combining close readings and formal analysis with a sociology of literary institutions and markets, Minor Characters Have Their Day offers a compelling new approach to genre study and contemporary fiction. Focusing on the booming genre of books that transform minor characters from canonical literary texts into the protagonists of new works, Jeremy Rosen makes broader claims about the state of contemporary fiction, the strategies of the publishing industry over recent decades, and the function of literary characters. Rosen traces the recent surge in “minor-character elaboration” to the late 1960s and works such as Jean Rhys’s Wide Sargasso Sea and Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. These early examples often recover the voices of marginalized individuals and groups. As the genre has exploded between the 1980s and the present, with novels about Ahab’s wife, Huck Finn’s father, and Mr. Dalloway, it has begun to embody the neoliberal commitments of subjective experience, individual expression, and agency. Eventually, large-scale publishers capitalized on the genre as a way to appeal to educated audiences aware of the prestige of the classics and to draw in identity-based niche markets. Rosen’s conclusion ties the understudied evolution of minor-character elaboration to the theory of literary character.

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31

(Illustrator), R. Davies, ed. Topsy and Tim (Topsy & Tim). Ladybird Books Ltd, 1999.

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32

Works, Mouse, and Fun Works. Gargoyles (Meet the Characters). Mouse Works, 1995.

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33

Adamson, Gareth, and Jean Adamson. Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 1999.

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34

Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 2003.

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35

Adamson, Jean. Topsy + Tim - Busy Builders (Topsy & Tim Storybooks). Ladybird Books, 1998.

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36

Topsy and Tim (Topsy & Tim Storybooks). Ladybird Books Ltd, 2003.

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37

Lawn, Robert T. Old Time Characters of the Isle of Wight. Navigator Books, 1994.

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38

Animating Real-Time Game Characters (Game Development Series). Charles River Media, 2002.

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39

Tim to the Lighthouse (Little Tim S.). Scholastic, 2000.

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40

Harford Vargas, Jennifer. The Fall of the Patriarchs. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190642853.003.0006.

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This chapter examines the figure of the patriarch as dictator, analyzing how Cristina García’s King of Cuba interrogates the two main characters’ heteropatriarchal and hypermasculinist hero narratives. They are depicted as foil characters whose many similar character traits foil their imaginations of themselves as polar opposites and reveals their similar investments in the regime of heteropatriarchy; at the same time, the novel foils both characters’ desires to die heroically, thereby demythologizing the celebratory narratives of the revolution and the freedom fighters that have dominated in Cuba and in Miami, respectively. It further demonstrate how the novel incorporates notes, vignettes, and theatrical production to create a resolver aesthetic that captures the creative forms of survival and strategic negotiation of characters who survive amid scarcity on the island. The chapter ends by focusing on marginalized, defiant second-generation Cuban American daughters of the conservative exile generation who are artist figures so as to illuminate an alternative articulation of revolution and art in the service of decolonial critique.

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41

(Illustrator), Nancy Hellen, ed. Topsy and Tim Go to Hospital (Topsy & Tim). Ladybird Books Ltd, 1999.

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42

Adamson, Gareth, and Jean Adamson. Topsy and Tim Go to Hospital (Topsy & Tim). Blackie Children's Books, 1988.

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43

(Illustrator), Nancy Hellen, ed. Topsy and Tim Meet the Police (Topsy & Tim). Ladybird Books Ltd, 1999.

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44

Topsy + Tim - Red Boots, Yellow Boots (Topsy & Tim Storybooks). Ladybird Books, 1998.

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45

Adamson, Gareth, and Jean Adamson. Topsy and Tim Have a Birthday Party (Topsy & Tim). Ladybird Books Ltd, 1999.

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46

(Illustrator), Nancy Hellen, ed. Topsy and Tim Learn to Swim (Topsy & Tim). Ladybird Books Ltd, 1999.

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47

Topsy and Tim at the Farm (Topsy & Tim Storybooks). Ladybird Books Ltd, 2003.

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48

Cox, R. David. Washington : Character in Time : The US Presidents. The History Project, Inc., 1998.

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49

Tyler : Character in Time : The US Presidents. The History Project, Inc., 1998.

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50

Ash, Lorraine. Monroe : Character in Time : The US Presidents. The History Project, Inc., 1999.

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