Bibliografie tematiche / The Witch (Fictitious character)

Letteratura scientifica selezionata sul tema "The Witch (Fictitious character)"

Autore: Grafiati
Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "The Witch (Fictitious character)"

1

Hauswald, Rico. "Fiktive Figuren als Träger von Wissen und als epistemische Autoritäten". Journal of Literary Theory 13, n. 2 (6 settembre 2019): 161–84. http://dx.doi.org/10.1515/jlt-2019-0006.

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Abstract (sommario):
Abstract This essay examines the question of whether and under what conditions a fictitious character can be an epistemic authority for (real) readers; more precisely: it asks whether and under what conditions readers can acquire (propositional) knowledge from the character, thus learning something from it. In answering this question, the essay brings together two debates that have so far hardly been related to each other: an epistemological debate on the concept of epistemic authority and a literary-theoretical debate on aesthetic cognitivism, i. e., the discourse about what can be learned from the reception of fictional texts. In order for a person to be an epistemic authority for another person, two conditions must be met: 1) the first person must have an advantage in knowledge over the second person that the second person recognizes and acknowledges as such; and 2) the second person must have appropriate access to this knowledge. In order to clarify to what extent a fictitious character and a real reader can be related in this way, I first examine what it means to attribute knowledge to a fictitious character. To do so, I suggest the following analysis: In story S, character C knows that p if and only if C believes in S that p; p is true in S; and C is justified in S to believe that p (this suggestion, based on the classical definition of knowledge, can easily be adapted for other suggested analyses: all that is required is that all conditions in the analysis – whatever they might be – lie inside the scope of the fiction operator). Furthermore, a knowledge attribution of the form »In S, C knows whether p« is true if and only if in S, C knows that p or knows that not-p. On the question of the correctness-conditions for knowledge attributions of the form »In S, C knows that p« and »In S, C knows whether p«, I will then enter the debate about fictional truths. This is necessary for two reasons. On the one hand, the attribution of knowledge is nothing but the assertion of a particular fictional truth. And on the other hand, an attribution of knowledge involves another fictional fact, namely the fact p (which I call the »underlying fact«). The view that is largely held in the discussion about fictional truth following Lewis is that what is true in a story does not result solely from the explicit assertions in the text, but also from plausible consequences [Plausibilitätsschlüssen] that we can be further justified in drawing. More precisely, the following possibilities arise for both facts – the underlying fact as well as the attribution of knowledge: Either the text explicitly contains a reference to the fact. Or it does not contain such an explicit reference, but the question of whether the fact obtains can still be answered on the basis of plausibility conclusions. Or there are no explicit references and plausibility conclusions cannot be drawn. In this case, there is a point of indeterminacy. These distinctions result in a number of possible combinations corresponding to different types of situations, some interesting instance of which I examine in more detail. One case that is especially remarkable is when there is a point of indeterminacy in the text with regard to the underlying fact, which – as I illustrate with an example – does not exclude the possibility that knowledge can be attributed to a character with regard to the proposition in question. The claim is often made about indeterminate passages that not even God can know whether the facts in question obtain – and this is correct. Hence if we are entitled to attribute the knowledge in question to a character, this shows that fictitious characters can not only know more than the reader or the author, but even more than God. Such situations also illustrate that more knowledge does not have to go hand in hand with more epistemic authority. For readers, the indeterminate passage remains unresolvable, and readers cannot learn anything from the character in this regard. This leads me to the question of under which conditions the reader can learn something from a character to whom knowledge is attributed that the reader does not possess. A fundamental problem for the idea that there could be something like a transfer of knowledge between a fictitious character and a real reader is that both belong to different ontological spheres, so to speak: the reader is real, the character merely fictitious. If a character were to be an epistemic authority for a reader, this would be a case of a transfictional epistemic authority, which must be distinguished from »ordinary« epistemic authorities as well as from fictitious epistemic authorities and from epistemic authorities for fictitious truths. I propose to analyze transfictional epistemic authorities using the make-believe theory and the extended-pretense operator: When readers find themselves in extended pretense and pretend to be part of the fictitious world, they become at least imaginatively capable of interacting with the characters, so that the characters can become imaginary epistemic authorities for the readers. I also discuss the cognitivism debate and argue that the (fictitious) knowledge of a character can affect not only intra-fictional but also extra-fictional objects and truths. A main objection to the cognitivist view that readers can acquire propositional knowledge of reality from reading fictional texts is that fictional texts are not reliable sources and that the beliefs the reader may form through reading cannot be justified. I reject this objection and argue that readers can also acquire knowledge about reality through the attribution of knowledge to fictitious characters or even from speech acts that the characters make in the story. Finally, I will deal with a possible objection that the epistemic authority that a character can have is completely parasitic on that of the author: the objection here is that if readers learn something, it’s actually from the author. In contrast, I argue that fictitious characters can acquire an independent epistemic authority that cannot be reduced to that of the author.
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Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film". REKAM 15, n. 2 (1 ottobre 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.

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Abstract (sommario):
Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.
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Klein, Holger. "Robert Nye’s Falstaff: A Remarkable Case of Creative Reception". Revista Alicantina de Estudios Ingleses, n. 25 (15 novembre 2012): 209. http://dx.doi.org/10.14198/raei.2012.25.16.

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Among fictitious autobiographies as well as among historical novels, Robert Nye’s Falstaff (1976) is a special case in that it is not the autobiography of a historical personage, but of a dramatic character —who happens to be one of the most famous in Shakespeare, indeed in world drama, to be dictated by Falstaff to various amanuenses. After briefly discussing the sub-genre of fictitious autobiography, this paper will analyze the varied use of intertextuality, the tensions fabricated between the autobiographer and his helpers, and the critical thoughts and tendencies which Nye absorbed in preparing the work with particular emphasis on the clash between the Shakespearean intertexts and the diction surrounding it.
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Ricard, Marcelle, e Mary Kamberk-Kilicci. "Children's Empathic Responses to Emotional Complexity". International Journal of Behavioral Development 18, n. 2 (giugno 1995): 211–25. http://dx.doi.org/10.1177/016502549501800202.

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The aim of this study was to assess the empathic reactivity of children when confronted with two different emotions felt by the same character. A total of 90 girls, divided into three equal groups aged 4, 6, and 8 years, were asked to verbally respond to a series of fictitious stories illustrated by a picture where the character's face was left blank. Four of these episodes implied one simple emotion, and the remaining four were complex episodes where the situation potentially induced two opposite emotions within the character, either successively or simultaneously. Empathy was scored according to (a) the match between the emotion identified in the character and the one reported by the subject, and (b) the interpretation given for the subject's reaction. Both the quality of the match and the level of interpretation from self-to event-to character-centred justifications-were found to increase with age, for complex as well as for simple emotions. However, children of all three age-groups displayed less empathic capabilities when witnessing complex rather than simple episodes, given the more demanding task involved in recognising and sharing emotional complexity. Finally, successive emotions appeared more difficult to cope with than simultaneous emotions, but this decalage may be due to the content of the stimuli used in this study.
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Aguilera Sustaita, Christian Ariel. "“Our Message Can Be Summarized with These Words: Britain First”: A Multimodal Critical Discourse Analysis of the Speech of Oswald Mosley’s character from the Peaky Blinders Series". Open Journal for Studies in Linguistics 5, n. 1 (14 agosto 2022): 11–22. http://dx.doi.org/10.32591/coas.ojsl.0501.02011a.

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Fascism is a radical and polemic political movement that had its origin in Italy after World War I. Thereupon, different versions of this ideology emerged in several European countries such as England, where Oswald Mosley was its precursor and the founder of the British Union of Fascists. Through his powerful speeches, he achieved to persuade the English elite to help him position himself as a leader and establish fascism in Britain. This article addresses a fictitious interpretation of Oswald Mosley giving a political speech in the middle of a sophisticated party. The main intention of this work is to explore the mechanisms of persuasion employed by the fictitious version of Mosley to address his audiences and convince them to accept his message. Some findings reveal that the use of polite expressions as well as remarkable confidence in his speech, helped Mosley gain the sympathy of his listeners.
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Byrd, Mark. "The Effects of Previously Acquired Knowledge on Memory for Textual Information". International Journal of Aging and Human Development 24, n. 3 (aprile 1987): 231–40. http://dx.doi.org/10.2190/twue-rqjd-pepw-7v2b.

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The present experiment was designed to examine how the semantic memory store of previously acquired knowledge affects the ability of young and old adults to retain textual information. The participants were presented with a series of biographical passages and were told they concerned either a famous historical character or a fictitious character. In an immediate recognition test, both young and old adults were able to discriminate between test and distractor sentences. However, in the delayed recognition condition, older adults had considerable difficulty in differentiating between target and distractor sentences, particularly in the famous character story condition. It was thought that as the older adults' episodic memory for the story deteriorated, they were unable to discriminate successfully between their store of previously acquired knowledge and the recently learned textual information.
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Giambanco, F., e L. Palizzolo. "Optimal Bounds on Plastic Deformations for Bodies Constituted of Temperature-Dependent Elastic Hardening Material". Journal of Applied Mechanics 64, n. 3 (1 settembre 1997): 510–18. http://dx.doi.org/10.1115/1.2788922.

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Bounds are investigated on the plastic deformations in a continuous solid body produced during the transient phase by cyclic loading not exceeding the shakedown limit. The constitutive model employs internal variables to describe temperature-dependent elastic-plastic material response with hardening. A deformation bounding theorem is proved. Bounds turn out to depend on some fictitious self-stresses and mechanical internal variables evaluated in the whole structure. An optimization problem, aimed to make the bound most stringent, is formulated. The Euler-Lagrange equations related to this last problem are deduced and they show that the relevant optimal bound has a local character, i.e., it depends just on some fictitious plastic deformations produced in the same region of the body where the bounded real plastic deformations are considered. The bounding technique is also generalized to the case of loads arbitrarily varying in a given domain. An application is worked out.
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Huang, Xiaoyu. "Analysis of Young Girls' Eagerness to Spend for Disney Virtual Characters Based on Marketing Mix Theory". BCP Business & Management 43 (24 marzo 2023): 90–95. http://dx.doi.org/10.54691/bcpbm.v43i.4626.

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A virtual character is a design of a fictitious creature with distinctive characteristics created by people, and Disney virtual characters are those Intellectual Property (IP) images that appeared in Disneyland and Disney movies. This investigation aimed to explore why many younger females are keen to spend money on Disney virtual characters. This paper adopted the Marketing Mix Theory strategy (product, price, placement, and promotion) marketing mix theory, and the SWOT analysis method has been utilized. This paper investigated the relationship between the 4Ps and consumers’ purchasing intentions, and it turned out that unique design and effective promotion in this Disney case would promote consumers’ purchase intention, while the higher price and less accessible placements affect their purchase intentions. Thus, the high price and limited places somewhat inhibit customers' desire to buy, due to the attractiveness of the product itself and the promotion on the internet, the target consumers are still willing to consume.
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Polizzi, Gilles. "Fantômes et contrefaçons dans l’oeuvre de Béroalde de Verville : ouvrages virtuels, fictifs et fictionnels". Renaissance and Reformation 34, n. 3 (26 luglio 2012): 91–110. http://dx.doi.org/10.33137/rr.v34i3.17022.

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This article proposes to take inventory of and examine, in the abundant vervilienne production, the absent works, non-existent or “disguised.” Reflecting upon the relationship between title and identity, as well as our aptitude to deduce from a title the content and character of a work, the author of this article defines the process of “bibliographical illusion,” used frequently by Verville, who, in his bibliography, multiplies these ghosts. Hence, this article sorts the works while considering, in an approximately chronological order, virtual books (announced, but not published and perhaps not written), fictitious books (those whose title suggests camouflage or forgery), and invented disguises; because the science of the book is fueled by invention. This article concludes with the unexpected restoration of a book as real, from the category of fictitious works. Bibliography is then not only the art of listing titles, but also the art and the science of linking titles with works the art of testing the game of bookish inventions and trickery.
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Crane, Susan. "Alison's Incapacity - Reply". Publications of the Modern Language Association of America 102, n. 5 (ottobre 1987): 835–36. http://dx.doi.org/10.1632/s0030812900173754.

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Susan Crane's “Alison's Incapacity and Poetic Instability in the Wife of Bath's Tale” (102 [1987]: 20–28), though superior to many of the articles it cites, finally demonstrates not so much the Wife's “incapacity” as the inadequacy of an approach that Crane shares with many critics of the Wife of Bath. The approach is characterized by a failure to distinguish sufficiently between the prologue and the tale and by the related assumption (despite words to the contrary) that Alison is a real person, not a fictitious character.
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Tesi sul tema "The Witch (Fictitious character)"

1

Hicks, Robin M. "Should Barbie come with instructions? : conventional and unconventional Barbie play". Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191710.

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Adult attitudes toward the Barbie dolls are ambivalent, with many saying they encourage a variety of undesirable tendencies. This paper looks at the dramatic play that actually occurs with the dolls, much of it involving the normal behavior that one would expect in children who are becoming enculturated through imitation of the adult behavior they see around them. But also common is play that most adults would think of as unconventional or deviant. To what extent are parents, particularly mothers, aware of this? How does this play relate to enculturation? Does it serve other functions? And what implications does it have for the age at which children should be given Barbies and the need for adult supervision or instruction of the children? This thesis describes the types of play engaged in and considers possible answers to the questions raised above.
Department of Anthropology
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Conrath, Robert E. "Rethinking the ape-man : approaching Tarzan as object of critical discourse". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61945.

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Jordan, Peter Edward Rees. "The Pantalone code patrician fatherhood unmasked in sixteenth-century Venice /". Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203761.

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Griswold, Amy Herring Simpkins Scott. "Detecting masculinity the positive masculine qualities of fictional detectives /". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3971.

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Polasek, Ashley D. "The evolution of Sherlock Holmes : adapting character across time and text". Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11076.

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The aim of this thesis is to introduce, justify, and apply a better framework for analysing Sherlock Holmes, one of the most adapted characters of all time. The project works to resituate the focus of those involved in studying adaptations of Sherlock Holmes from an examination of the discrete transition of a text from page to screen, to the evolution of the character as it changes across various intertexts and through time. The purpose is to show that it is the character specifically, and not the literary text with its narrative, genric, and aesthetic qualifications, that is being adapted, and that with this in mind, studying adaptations of Sherlock Holmes should involve a study of the various processes, pressures, and mechanisms that shape, change, and define the character throughout its hundreds of screen afterlives. This thesis then analyses many of these processes with the aim of contributing to our understanding of how a character like Holmes is moulded through remediation. It takes into account how the character’s indices shift and accumulate as they are variously performed. It also considers how the mechanisms of selection function to privilege certain incarnations of the character, and how that privileging becomes a part of future readings. Finally, it addresses how reception and perception by audiences influence how the character is read, and thus how it is understood. By considering all of these aspects of the evolutionary process, and by avoiding a chronological or even a linear organization of the texts under scrutiny, this work seeks to offer a more complete answer to the question of how a single source can support a multitude of varied, even contradictory adaptations and remain relevant and interesting through the years.
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Allen, Stephanie Andrea. "The right to represent the transformation of Topsy in Robert Alexander's I aint yo' uncle /". Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/ALLEN_STEPHANIE_23.pdf.

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Salus, Victoria Paula 1970. ""Her rare chastitee" : Belphoebe's representation in The faerie queene". Monash University, English Dept, 2001. http://arrow.monash.edu.au/hdl/1959.1/9100.

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Micklitz, Bill. "The censors' magic wand the disappearing children's literature /". Menomonie, WI : University of Wisconsin--Stout, 2006. http://www.uwstout.edu/lib/thesis/2006/2006micklitzw.pdf.

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Goile, Joanne Elizabeth. "Fascinations of fiction an examination of devices used within the television programme Buffy the Vampire Slayer that succeed in blurring the boundaries between viewers and the fictional diegesis of the show : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2003". Full thesis. Abstract, 2003.

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Kato, Yasué. "Etude génétique des épisodes du peintre Elstir dans A la recherche du temps perdu". Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://books.google.com/books?id=NOhcAAAAMAAJ.

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Libri sul tema "The Witch (Fictitious character)"

1

Goldman, Leslie. Witch glitch. New York: Simon Pulse, 2003.

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Hensley, Joe L. Robak's witch. New York: St. Martin's Press, 1997.

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3

Peters, Ellis. Flight of a witch. New York: Mysterious Press, 1991.

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Peters, Ellis. Flight of a witch. New York: Mysterious Press, 1991.

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Copyright Paperback Collection (Library of Congress), a cura di. Witch way did she go? New York: Pocket Books, 2001.

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B, Gilmour H. The witch hunters. New York: Scholastic, 2003.

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Peters, Ellis. Flight of a witch. New York: Mysterious Press, 1992.

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Peters, Ellis. Flight of a witch. New York: Mysterious Press, 1991.

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Logan, Jake. Slocum and the witch of Westlake. New York: Jove Books, 2009.

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Carvic, Heron. Witch Miss Seeton. New York, USA: Berkley, 1988.

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Capitoli di libri sul tema "The Witch (Fictitious character)"

1

Hemmann, Kathryn. "The Maiden and the Witch: CLAMP’s Subversion of Female Character Tropes". In Manga Cultures and the Female Gaze, 47–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-18095-9_3.

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Swain, Warren. "Contract and Unjust Enrichment". In Rethinking Unjust Enrichment, 11–28. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192874146.003.0002.

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Abstract This chapter suggests that supporters of unjust enrichment may have adopted an unduly narrow view of contract law which is at odds with the historical narrative. The term ‘quasi-contract’ is commonly equated with a fictious implied contract. In fact, liability brought about by contractual incapacity, failed and unenforceable contracts, and quantum meruit can be justified by real rather than fictitious contracts. The reason that contractual reasoning was squeezed out was not so much because these claims cannot be regarded as contractual in character, but because of the influence of the classical model of contract.
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Frolova-Walker, Marina, e Jonathan Walker. "The Phantom Program". In Shostakovich's Symphony No. 5, 55–79. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197566329.003.0003.

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Abstract Chapter 3 delves into the narrative that contemporaneous critics perceived in the Fifth Symphony, even though Shostakovich had offered no program. The context for this narrative is a rich tradition of literary and musical works that illustrate the difficulties the Russian intelligentsia faced in adjusting to the Soviet state. One particular literary prototype explored here is the fictitious symphony composed by “Nikita Karev,” a character in Konstantin Fedin’s novel Brothers. There is a discussion of the nearest real-world counterparts in symphonies by Myaskovsky, Shcherbachev, and Shaporin. The Fifth was also perceived as a Hamlet-like creation, saturated with doubts and questioning, an interpretation prompted by Yuri Olesha’s play The List of Benefits. Another play that entered this literary complex was Alexei Faiko’s The Concert, which became a kind of stage commentary on Shostakovich’s predicament. Alexei Tolstoy’s official endorsement of the symphony said that it provides evidence for a “maturation of personality,” and this chapter shows that Tolstoy’s description depended on his readers’ familiarity with the “intelligentsia and revolution” trope in such a way that Shostakovich’s symphonic narrative received a positive spin.
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"The Viral Character of the Witch". In Realizing the Witch, 87–102. Fordham University Press, 2016. http://dx.doi.org/10.2307/j.ctt175x2kv.7.

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Cumbler, John T. "Farmers, Fishers, and Sportsmen". In Reasonable Use. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195138139.003.0014.

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At the end of the nineteenth century, Edward Bellamy, one of the Connecticut River Valley’s most famous literary residents, created a fictional character who wanted to avoid “industrial existence” and instead “all day to climb these mighty hills, feeling their strength” and to “happen upon little brooks in hidden valleys.” Bellamy planned for his protagonist “to breathe all day long the forest air loaded with the perfume of the forest trees.” The wanderings of this turn-of-the-century fictitious character through thick forests and deserted hills reflects the changes engendered in the valley with the coming of industrial cities and the abandonment of hillside farms. When Bellamy was born in 1850 at Chicopee Falls in western Massachusetts, the region was in the process of deforestation and had few areas that were not intensely farmed. Yet as Bellamy himself noted in an 1890 letter to the North American Review, “the abandonment of the farm for the town” had become all too common. Deserted farms became one of the themes Bellamy sketched out in his notes for the novel. Bellamy had his character live in an “abandoned farmhouse. . . . The farmhouse was one of the thousands of deserted farms that haunted the roadsides of the sterile back districts of New England.” In viewing the depopulated countryside as a retreat from industrial existence, Bellamy’s character represented the fate of late-nineteenthand early-twentieth-century New Englanders. Increasingly, urbanized New Englanders began to look to rural areas not as sources of food or resources of necessity but as places to contemplate nature and practice fishing and hunting as sport. As rural areas, particularly on the hills and up the valleys, became less populated, farmers there lost much of their political voice. New city voices now became more important in the conversation about resource conservation. What farmers saw as abandoned and ruined farms, urban and suburban naturalists saw as rural retreats from the tensions and pollution of the cities. For these interlopers, rural New England represented a romantic ideal of a past they or their ances tors put behind them when they moved to the city.
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"Three. The Viral Character of the Witch". In Realizing the Witch, 87–102. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823268276-005.

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Grafius, Brandon, e Brandon Grafius. "Characters and Family Dynamics". In The Witch, 61–84. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348356.003.0005.

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This chapter treats the characters of The Witch (2015) individually, exploring how each of them reveals their personal hopes and anxieties, then discusses how these individual character arcs combine into the overall family dynamics. Starting with an exploration of William, the chapter argues that the film pulls a sleight-of-hand, setting him up as the main character before slowly revealing the protagonist to be Thomasin. The characterization of Black Phillip is treated, along with a brief discussion of his appropriation by popular culture.
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Grafius, Brandon. "Readings". In The Witch, 85–94. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348356.003.0006.

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Starting with an exploration of the title, the chapter brings together the background work and character discussion to offer a reading of the film as a whole. Through an exploration of Thomasin’s laugh (and a comparison of the final shot of Witchfinder General), the chapter argues for the film as a critique of religious anxiety and patriarchal family structures. Thomasin’s concluding laughter represents her freedom from patriarchy, even though this freedom has come at the cost of her family.
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9

Agostinho, Shirley. "Using Characters in Online Simulated Environments to Guide Authentic Tasks". In Authentic Learning Environments in Higher Education, 88–95. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-594-8.ch007.

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The use of characters to present tasks and critical information in a simulated environment has proven to be a useful strategy in the creation of more authentic learning environments online. Such characters can not only perform the role of setting and structuring tasks within the fictitious scenario, but also that of providing useful and realistic guidance. This chapter describes a learning environment designed to create an authentic context for learning evaluation skills and strategies appropriate to technology-based learning settings. The subject in which this approach was adopted was a masters-level course in evaluation of technology-based learning environments. The chapter focuses on the use of a fictitious CEO (chief executive officer) who requests certain evaluation tasks of “employees.” Students are given realistic jobs with realistic parameters, and in this way the subject is dealt with in a much more authentic manner than if presented in a more decontextualised way. The rationale for adopting the approach is described together with a description of how it was implemented and summary findings of an evaluation of the approach.
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Coulmas, Florian. "10. Who is behind the mask? Identity in literature". In Identity: A Very Short Introduction, 113–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198828549.003.0010.

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In literature, we can find all aspects and dimensions of identity: identity through time, the mind–body problem, the identity of words and things, gender boundaries, identity crisis, divided loyalty, mistaken identity, split identity, and the demands of modernity for individuals to have a national, social, and gender identity. ‘Who is behind the mask? Identity in literature’ provides a range of illustrative examples. In addition to substantial questions of identity, the art of literature is also concerned with identity in two formal ways. Style expresses the identity of fictitious characters as well as of writers. Finally, by creating fictitious worlds, literature constructs identity puzzles in its own right.
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Atti di convegni sul tema "The Witch (Fictitious character)"

1

Lugiato, Luigi A., Lorenzo M. Narducci, Jorge R. Tredicce e Donna K. Bandy. "Effect of a transverse beam profile on the dynamics of a homogeneously broadened ring laser". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oam.1986.mf8.

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Most theoretical treatments of laser dynamics have been based on the plane wave approximation for the cavity field. They have also led, for the most part, to seemingly incorrect predictions for 'the instability thresholds. In an attempt to characterize the role played by the transverse intensity and phase variations of the cavity field, we have generalized the usual Maxwell-Bloch equations to include several common features that are present in experimental laser systems. We consider a unidirectional ring laser with a resonator containing spherical mirrors of arbitrary reflectivity and radius of curvature. We assume the active medium to behave as a collection of homogeneously broadened two-level systems with a transverse variation of inversion, as is normally found in typical discharge-excited systems, and we simulate the presence of a confining plasma tube with a fictitious transverse linear absorption profile, which is essentially zero everywhere except in the vicinity of the container walls. Our numerical search for the steady-state field distribution inside the cavity shows that well-behaved steady-state solutions may develop an unstable character for gain values that are not significantly higher than the ordinary laser threshold. These low threshold instabilities seem to arise as a result of a large enough mismatch between the transverse profile of the empty resonator field and of the population inversion. Bistability at threshold also seems to be part of the observed phenomenology.
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2

Feng, Xiaohan, e Makoto Murakami. "Design that uses AI to Subvert Stereotypes: Make Witches Wicked Again". In 4th International Conference on Natural Language Processing, Information Retrieval and AI. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130305.

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The Witch is a typical stereotype-busting character because its description has changed many times in a long history. This paper is an attempt to understand the visual interpretations and character positioning of the Watch by many creators in different eras, AI is being used to help summarize current stereotypes in witch design, and to propose a way to subvert the Witch stereotype in current popular culture. This study aims to understand the visual interpretations of witches and character positioning by many creators in different eras, and to subvert the stereotype of witches in current popular culture. This study provides material for future research on character design stereotypes, and an attempt is proposed to use artificial intelligence to break the stereotypes in design and is being documented as an experiment in how to subvert current stereotypes from various periods in history. The method begins by using AI to compile stereotypical images of contemporary witches. Then, the two major components of the stereotype, "accessories" and "appearance," are analyzed from historical and social perspectives and attributed to the reasons for the formation and transformation of the Witch image. These past stereotypes are designed using the design approach of "extraction" "retention" and "conversion.", and finally the advantages and disadvantages of this approach are summarized from a practical perspective. Research has shown that it is feasible to use AI to summarize the design elements and use them as clues to trace history. This is especially true for characters such as the Witch, who have undergone many historical transitions. The more changes there are, the more elements can be gathered, and the advantage of this method increases. Stereotypes change over time, and even when the current stereotype has become history, this method is still effective for newly created stereotypes.
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