Artykuły w czasopismach na temat „Auditors in fiction”
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Czarniawska, Barbara. "Research Note. A Culture of Costs versus A Culture of Expenses". Valuation Studies 5, nr 2 (2.05.2018): 131–44. http://dx.doi.org/10.3384/vs.2001-5992.1852131.
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When there is money spent on products of culture, are those costs or expenses? An answer to that question may be of importance not only to accountants and auditors, and it can vary among cultures. This article compares the way the issue is presented by two fiction writers, one Swedish and one British.
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Rauch, Bernhard, Max Göttsche, Stefan Engel i Gernot Brähler. "Fact and Fiction in EU-Governmental Economic Data". German Economic Review 12, nr 3 (1.08.2011): 243–55. http://dx.doi.org/10.1111/j.1468-0475.2011.00542.x.
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Abstract To detect manipulations or fraud in accounting data, auditors have successfully used Benford’s law as part of their fraud detection processes. Benford’s law proposes a distribution for first digits of numbers in naturally occurring data. Government accounting and statistics are similar in nature to financial accounting. In the European Union (EU), there is pressure to comply with the Stability and Growth Pact criteria. Therefore, like firms, governments might try to make their economic situation seem better. In this paper, we use a Benford test to investigate the quality of macroeconomic data relevant to the deficit criteria reported to Eurostat by the EU member states. We find that the data reported by Greece shows the greatest deviation from Benford’s law among all euro states.
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Leenhardt, Jacques. "Existence et objet de la « sociologie de la littérature », aujourd’hui". Sociologias 20, nr 48 (sierpień 2018): 30–46. http://dx.doi.org/10.1590/15174522-020004802.
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Résumé Pour des raisons méthodologiques, la sociologie entretient une relation plutôt distante avec la littérature. En tant que discipline scientifique, la sociologie doit définir ses objets sur la base de « propriétés inhérentes » (Durkheim). Y aurait-il une littérarité (Literarnost), telle que proposée par Jakobson ? Évidemment pas. La même chose s’applique à la fictionalité. La sociologie, par conséquent, préfère aborder son objet de façon détournée, pour aborder la « littérature » par son environnement : auditoires, critiques, politiques éditoriales, lecture. Cet article analyse quelques raisons historiques et épistémologiques d’une telle stratégie, qui évite d’aborder le noyau même de la littérature : la confrontation de différents mondes fictifs dans le texte et dans la lecture. Selon la théorie de la fiction, si la sociologie doit comprendre les forces qui transforment le statut actuel de la société, elle devrait accorder plus d’attention aux processus symboliques qui se produisent dans l’expérience littéraire, une activité qui permet à tous de se confronter des situations et des valeurs possibles (fictifs) et, par conséquent, symbolise un monde social différent possible.
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KUZ, Valentyna. "GENRE AND STYLISTIC PECULIARITIES OF YURII KLEN’S FLASH FICTION". Current issues of linguistics and translations studies, nr 23 (30.03.2022): 19–23. http://dx.doi.org/10.31891/2415-7929-2022-23-4.
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The article examines the peculiarities of Yurii Klen’s flash fiction creation in the genre and stylistic aspect, drawing attention to the individual modes of artistic existence, the metaphysical perspective of modeling reality. Using specific examples, an attempt was made to analyze the genre and stylistic originality of flash fiction, highlighting the peculiarities of the existential manifestations, the unknowable and irrational in the human Self through the prism of style dynamics, psychological aspects. It has been proved that the verbal transmission of sounds and songs clearly and exhaustively reveals auditory perception, fills the work with deep associations, and helps the character to learn more about the world. Musicality enhances the inner image of the hero, his dreams and hopes. For the first time, we have clarified and interpreted the genre peculiarities of the short story “Apples”. It has been revealed that the linguistic ornament enriches the lyrical prose of Yurii Klen. Although ornamental poetics is modeled only in certain parts of texts, it performs fundamental functions for the entire prose work, because it expresses various leitmotivs, more comprehensively reveals the perception of the world, creates multi-aspect subtexts, intensifies the suggestive function of the word, space-time parameters, more clearly illuminates the point of view of the characters. The linguistic ornament in the short story “Apples”, in the novellas “Medallion”, “Acacia”, “Adventures of the Archangel Raphael” makes it possible to reach the level of the ontological field of social reality, to identify the philosophical line, to expand or change the scale of the artistic world, that is, the depicted one. In the Yurii Klen’s prose, ornamental poetics is distinguished by the associativity of thoughts, images, the sophistication of sayings, the richness of metaphors and other artistic devices of representation. Lyrical prose of the writer reveals the position, attitude of the narrator to his perception of the environment, society, life, his thoughts, feelings and experiences.
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Brownlee, Shannon. "Imaginative Animated Non-Fiction: Educating Adults about Child Soldiers". Animation 18, nr 3 (listopad 2023): 227–39. http://dx.doi.org/10.1177/17468477231206670.
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This case study investigates the overlapping categories of animated documentary, useful animation, and fiction inspired by real events. It analyzes a training video for adults who work with child soldiers that was created by IoM Media and the Dallaire Institute for Children, Peace, and Security. This video incorporates elements of animated narrative fiction, children’s television animation, reenactment, and photographic and auditory indexicality. Ultimately, no one form has a greater claim to the truth than the others; rather, truth is constructed through the interrelation of disparate elements, and the video’s pedagogical and activist ends are served by abstraction and anti-realism as much as by indexicality. The video also prompts wider questions about temporality and degrees of abstraction in different modes of documentary. The arguments this article presents about the case study are more broadly applicable to non-fiction animated film and to both live-action and animated documentary.
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Slote, Ben. "Narrative Jujitsu: Twain's “Studied Fictions” and Their Plot Against Audience". Prospects 20 (październik 1995): 87–118. http://dx.doi.org/10.1017/s0361233300006025.
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Anyone familiar with mark twain's humor will recognize its traces in this description of an early stage performance. Here is selfmockery, the mockery of grandiloquent stage oratory, and the mockery of grandiloquence itself, all the more fun for our reviewer's high-serious complaint. Here is a trace of something else, though, that has not been fully appreciated in Twain criticism: the aggression his oral and literary performances exert against their audiences. As our reviewer describes it, Twain's comic gambit about the Sandwich Islands also mocks and catches out his listeners. In the process of seeming to gratify the sort of conventional, “serious” expectations that auditors like our reviewer take to the performance, Twain becomes “untrustworthy,” so that the audience's not knowing where “the fun will come in” comes close to its knowing that the fun is at the expense of these expectations. Its “queer state,” like a bruise, marks Twain's deepest aggression: while indulging his audience's highcultural desires – his “brilliant” purple prose signals the entry into a touristic transaction as clearly as buying a berth on the Quaker City does in Innocents Abroad – Twain's concluding verbal self-consciousness flourishes before his auditors both the inauthenticity of his offer and the selfdelusion involved in their accepting it.
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Gleeson-White, Sarah. "Auditory Exposures: Faulkner, Eisenstein, and Film Sound". PMLA/Publications of the Modern Language Association of America 128, nr 1 (styczeń 2013): 87–100. http://dx.doi.org/10.1632/pmla.2013.128.1.87.
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In identifying cinematic qualities—including Eisensteinian montage—in Faulkner's major fiction, scholars have conceived of film as an exclusively visual medium. This essay provides evidence of Faulkner's familiarity with Eisenstein's cinematic praxis by examining the similarities between the novelist's 1934 film treatment of Blaise Cendrars's Sutter's Gold and one that Eisenstein produced in 1930. It then argues that there is a striking continuity between the two treatments in the realm of sound—in particular, the imagining and inscription of film sound. Most surprising is the manner in which Faulkner's sonic experimentalism, clearly influenced by Eisenstein, works its way into the novel on which he was working at the time, Absalom, Absalom!. Informed by screen writing and film-sound technology, Faulkner's high-modernist novel contributes to emerging scholarly interest in the auditory culture of modernism.
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Zhang, Rui. "On Auditory Narratology in The Ivory Acrobat". Arts Studies and Criticism 3, nr 2 (27.06.2022): 115. http://dx.doi.org/10.32629/asc.v3i2.836.
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The Ivory Acrobat is one of the novellas of Don DeLillo (1936-), which is collected in his short-story collection called The Angel Esmeralda: Nine Stories. And the story depicts an American girl Kyle, who has experienced myriads of earthquakes in Athens, Greece. This paper will survey from the perspective of auditory narratology, by analyzing four different tones, such as main tone, signal sounds, sound marks, and silence to observe functions of listening in the aspects of propelling fiction narrations, and of reflecting people’s fears and terrors in front of natural disasters. The analysis of listening functions also reflect the optimistic attitudes of people when they are facing natural disasters. And it might provide some useful references for people to mitigate their anxiety in the COVID-19 pandemic.
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Tian, Hua. "The Technological Landscape and Artistic Illusion: A Case Study of Avatar". Journal of Research in Social Science and Humanities 3, nr 4 (kwiecień 2024): 18–21. http://dx.doi.org/10.56397/jrssh.2024.04.04.
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In recent years, with the increasingly mature digital technology, 3D movies are everywhere, and the sense of presence created by 3D technology makes the audience marvel at the visual enjoyment brought by technology. The science fiction film Avatar is one of the most influential and well-received films in 3D movies. Whether it’s the strong visual impact on the screen or the overwhelming auditory sensation, 3D movies allow the audience to experience the excitement of being there, making themselves witnesses to this battle-like spectacle.
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Waugh, Patricia. "Muriel Spark’s ‘informed air’: the auditory imagination and the voices of fiction". Textual Practice 32, nr 9 (21.10.2018): 1633–58. http://dx.doi.org/10.1080/0950236x.2018.1533171.
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Andrusiak, V., i V. Kravchenko. "Analysis of efficiency of perception of information depending on the individual learning style". Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 78, nr 2 (2019): 61–67. http://dx.doi.org/10.17721/1728_2748.2019.78.61-67.
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The paper explored the features of information acquisition by people with different individual learning styles in accordance with the VARK classification (Visual, Auditory, Reading, Kinesthetic), which is popular in the educational field, using a comparative analysis of memorizing the details of fiction and scientific texts, as well as the brain's electrical activity during reading and listening.It is revealed that the way of presenting the text corresponding to the individual learning style does not increase the efficiency of memorizing its details.Audials, better than visuals, learned the content of a fiction text, when it is visually presented. Audials and kinesthetics demonstrated the worst long-term memorization of the details of a fiction text, regardless of how it was processed. It is shown that, regardless of the dominant learning style, listening to the text is accompanied by a greater cognitive load compared to reading, which was reflected in a generalized increase in spectral power in the theta EEG range. Reading was accompanied by a greater spectral power in the delta range in comparison with listening to texts for representatives of all learning styles, except visuals. In the kinesthetics, the spectral power of the high-frequency beta range of the EEG increased in the left temporo-occipital zones, while reading a fiction fragment, which indicates higher level of psycho-emotional tension in comparison with listening. The brain mechanism for maintaining attention and working memory during perception of information had specific EEG correlates in subjects with different individual learning styles, which, however, did not affect the differences in the efficiency of information assimilation by representatives of these groups.
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DULINA, ANNA. "THE SILENT LETTER IN H. MELVILLE’S MOBY DICK, OR THE WHALE". Lomonosov Journal of Philology, nr 1, 2024 (17.02.2024): 139–48. http://dx.doi.org/10.55959/https://vestnik.philol.msu.ru/issues/vmu_9_philol__2024_01_10.pdf.
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The article analyzes the role of the unpronounceable (silent) consonant ‘h’ and the image of the mute letter in Herman Melville’s poetics, especially in Moby-Dick, or The Whale. The paper discusses the indistinction of textual objects (the word ‘whale’, the title of the novel The Whale) and images (white sperm whale Moby Dick, pale characters in Melville’s short stories), which is key for characterizing Melville’s works as autometatexts. The common characteristics that unite both layers - the graphic, auditory existence of the text and the fictional world of the novel - are ‘silence’ and ‘visibility’. The article examines the structure-forming role of these concepts for the system of the images and motifs and their conceptualization within the framework of Melville’s philosophy of creativity and the paradox of the genius who is able to tell the Truth in fiction. The act of creating and reading a text is identified with the process of drawing and seeing a silent letter; the novel then is a transformation field for both the writer and the reader into an architect and a stonemason on the way to comprehending the secret knowledge through the matter of language. The article takes into account the interpretations of the role of the letter ‘h’ in the novel that are classical in Anglophone Melville studies; the methodology of the French philosophers, who wrote about Melville’s work; and modern interpretations from Russian literary criticism.
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Hirsch, Fabrice, Francesca Frontini, Ivana Didirková i Ján Drengubiak. "Esthétique de la voix dans les livres audio en langue française". SHS Web of Conferences 138 (2022): 08004. http://dx.doi.org/10.1051/shsconf/202213808004.
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Cette recherche vise à étudier les préférences des auditeurs concernant les voix des livres audio. Des échantillons de 8 voix masculines et 7 voix féminines ont été extraits de différents livres audio et analysés. Une enquête a été réalisée pour obtenir le point de vue de 69 auditeurs en répondant à des questions sur les caractéristiques vocales. Les résultats montrent que les choix des participants dépendent du genre littéraire. En effet, les voix masculines sont préférées pour les romans de science-fiction et les voix féminines pour la littérature pour enfants et les romans contemporains. Néanmoins, les autres genres littéraires testés ne correspondent pas à une voix spécifique. Concernant le débit, une préférence a été notée pour des essais lus avec un débit de parole plus lent, alors que les auditeurs préfèrent un débit de parole plus rapide pour les romans érotiques.
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Alderson-Day, Ben, Jamie Moffatt, Marco Bernini, Kaja Mitrenga, Bo Yao i Charles Fernyhough. "Processing Speech and Thoughts during Silent Reading: Direct Reference Effects for Speech by Fictional Characters in Voice-Selective Auditory Cortex and a Theory-of-Mind Network". Journal of Cognitive Neuroscience 32, nr 9 (wrzesień 2020): 1637–53. http://dx.doi.org/10.1162/jocn_a_01571.
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Stories transport readers into vivid imaginative worlds, but understanding how readers create such worlds—populating them with characters, objects, and events—presents serious challenges across disciplines. Auditory imagery is thought to play a prominent role in this process, especially when representing characters' voices. Previous research has shown that direct reference to speech in stories (e.g., He said, “I'm over here”) may prompt spontaneous activation of voice-selective auditory cortex more than indirect speech [Yao, B., Belin, P., & Scheepers, C. Silent reading of direct versus indirect speech activates voice-selective areas in the auditory cortex. Journal of Cognitive Neuroscience, 23, 3146–3152, 2011]. However, it is unclear whether this effect reflects differential processing of speech or differences in linguistic content, source memory, or grammar. One way to test this is to compare direct reference effects for characters speaking and thinking in a story. Here, we present a multidisciplinary fMRI study of 21 readers' responses to characters' speech and thoughts during silent reading of short fictional stories. Activations relating to direct and indirect references were compared for both speaking and thinking. Eye-tracking and independent localizer tasks (auditory cortex and theory of mind [ToM]) established ROIs in which responses to stories could be tracked for individuals. Evidence of elevated auditory cortex responses to direct speech over indirect speech was observed, replicating previously reported effects; no reference effect was observed for thoughts. Moreover, a direct reference effect specific to speech was also evident in regions previously associated with inferring intentions from communication. Implications are discussed for the spontaneous representation of fictional characters and the potential roles of inner speech and ToM in this process.
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Findlay-Walsh, Iain. "Virtual auditory reality". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, nr 1 (15.01.2021): 71–90. http://dx.doi.org/10.7146/se.v10i1.124199.
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This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reality’. These ideas are discussed in relation to recent research on popular music production and perception, with a focus on matters of spatial sound design, the virtual ‘staging’ of music performances and performing bodies, digital editing methods and effects, and on shifting relations between musical spatiality, singer-persona, audio technologies, and listener. Writings on music and virtual space by Martin Knakkergaard, Allan Moore, Ragnhild Brøvig-Hanssen & Anne Danielsen, Denis Smalley, Dale Chapman, Kodwo Eshun and Holger Schulze are discussed, before being related to conceptions of VR sound and user experience by Jaron Lanier, Rolf Nordahl & Niels Nilsson, Mel Slater, Tom Garner and Frances Dyson. This critical framework informs three short aural analyses of digital pop tracks released during the last 10 years - Titanium (Guetta & Sia 2010), Ultralight Beam (West 2016) and 2099 (Charli XCX 2019) - presented in the form of autoethnographic ‘listening notes’. Through this discussion on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed. By examining personal music listening in relation to VR user experience, this study proposes listening to pop music in the 21st century as a mode of immersive, embodied ‘storyliving’, or ‘storydoing’ (Allen & Tucker).
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Sani Yaú, Mohammed, Sabariah Md Rashid, Afida Mohamad Ali i Hardev Kaur. "CONCEPTUAL METAPHORS UNDERLYING VISUAL AND AUDITORY PERCEPTION VERBS IN ENGLISH AND HAUSA ROMANCE FICTION". Journal of Language and Communication 10, nr 2 (15.09.2023): 139–66. http://dx.doi.org/10.47836/jlc.10.02.01.
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We often use verbs that describe sight, sound, touch, taste and smell to explain the nature of the world and the manner we perceive it. What is profoundly intriguing, though, is how frequently these words refer to things outside of our physical reality. They also allude to "knowledge," “thinking,” "feelings," and "preferences," rather than just "shapes and colours," "sounds," "textures," "flavours," or "odours." Our physiological experiences have a significant impact on how we think and communicate. Such expressions are manifestations of conceptual metaphors, which are fundamental cognitive mappings between the source and target domains. Thus, the current cross-linguistic study focusses on the metaphorical use of visual (‘see’ and gani) and auditory (‘hear’ and ji) verbs in English and Hausa romance novels. The conceptual metaphor theory of Lakoff and Johnson and the mind-as-body metaphor theory of Sweetser serve as the theoretical foundations for this study. The study is situated within the cognitive semantics domain and adopts a qualitative corpus-based approach to collect its data. Ibarretxe-Antuñano’s (2013a) perception metaphor model was used for data analysis. Although the findings revealed that the two languages share some perception metaphors, they differ significantly in a number of perception metaphors. Specifically, the findings from English data consistently show that knowledge and understanding are developed from the verbs of vision, which provide support for the universality of perception metaphor. However, findings from the Hausa data provide evidence otherwise, in that the higher intellection verbs such as ‘understanding’ are developed from auditory perception verbs, thus suggesting culture-specificity of the perception metaphors.
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Trovato, Loredana. "L' ouïe en tant que stratégie de construction du récit de soi chez Louis-Ferdinand Céline". Mnemosyne, nr 3 (11.10.2018): 13. http://dx.doi.org/10.14428/mnemosyne.v0i3.12123.
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Cet article vise à analyser le rôle de l’ouïe dans l’œuvre romanesque de Louis-Ferdinand Céline et ses rapports avec les stratégies de construction du récit de soi. Dès la parution de Voyage au bout de la nuit, l’ouïe a toujours été un des sens les plus utilisés par l’auteur, intervenant soit dans l’interaction dynamique avec l’extérieur (en termes de conflit et/ou de relation symbiotique avec le lecteur/narrataire), soit dans les mécanismes de ‘repère’ intérieur des données du vécu biographique («oto-biographie») qui deviennent «oto-mémoire» et, enfin, «oto-fiction». Comme une sorte d’acte maïeutique, le souvenir auditif qui hante sa tête par ses bruits et ses jacassements sans fin, lui impose l’écriture, c’est-à-dire le passage du réel à la fiction du réel. À travers l’analyse des leitmotivs auditifs de l’œuvre célinienne, on essayera ainsi de déterminer les traits essentiels de sa poétique et l’unicité d’un style qu’il appelle – à raison – «petite musique».
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Toop, David. "The Mediumship of Listening: Notes on Sound in the Silent Arts". Journal of Visual Culture 10, nr 2 (sierpień 2011): 169–76. http://dx.doi.org/10.1177/1470412911402887.
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This article is a series of excerpts from the author’s most recent book Sinister Resonance. It begins with the premise that sound is a haunting, a ghost, a presence whose location in space is ambiguous and whose existence in time is transitory. The intangibility of sound is uncanny – a phenomenal presence both in the head, at its point of source and all around, and never entirely distinct from auditory hallucinations. The close listener is like a medium who draws out substance from that which is not entirely there. The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. Threaded through is Marcel Duchamp’s curious observation – ‘One can look at seeing but one can’t hear hearing’ – and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception.
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Tang, Ruohan, i Lai Wei. "Aural Authenticity and Reality in Soundscape of VR Documentary". Interactive Film & Media Journal 2, nr 4 (30.12.2022): 33–41. http://dx.doi.org/10.32920/ifmj.v2i4.1644.
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The documentary concept is a 'notoriously slippery eel,' or even the slipperiest one in the history of cinema (Kahana, 2016). With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept even more elusive. Does documentary exist in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, can it still be considered an authentic form of a documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when the film is based entirely on fictional visual input? This paper aims to put the discussion on visual realities aside and provides a perspective for understanding how real auditory characteristics are built up in virtual environments (VE) of virtual reality documentaries. We develop this argument in three parts. In the first part, we define a virtual reality documentary and distinguish it from other virtual reality films based on Bill Nichols’s analysis of the boundary between traditional documentary and other types of films. Then, we describe the design and implementation of the aural simulation systems with HRTF (Head-Related Transfer Function) in virtual reality documentary sound design to illustrate how it could reproduce realistic physical hearing for viewers. In the final part, we explore the concept of ‘soundscape’ as it applies to VR documentaries, attempting to show that the sense of authenticity in the audition is related to generating the genius loci (spirit of place) of the viewers based on the case analysis of Anne Frank House VR. Such a spirit of place is embedded in the hearing experience of those who experienced it.
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Jackler, Robert K., i Peter H. Hwang. "Enlargement of the Cochlear Aqueduct: Fact or Fiction?" Otolaryngology–Head and Neck Surgery 109, nr 1 (lipiec 1993): 14–25. http://dx.doi.org/10.1177/019459989310900104.
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Enlargement of the cochlear aqueduct (CA) is often mentioned in the otologic literature, usually in its purported association with sensory hearing loss, stapes gusher, and transotic cerebrospinal fluid leak. In CT scans of 100 ears, the diameter of the CA medial aperture was found to be highly variable, ranging from 0 to 11 mm, with a mean of 4.5 mm. In contrast, the otic capsule segment was very narrow in every case. It could be visualized in only 56% of cases, none of which exceeded 2 mm in diameter. Several published reports of supposed CA enlargement presented images of a dilated medial aperture that was well within the range of normal variability according to the present study. In a thorough review of the literature on radiology of the CA, we were unable to find a single published image that convincingly demonstrated enlargement of the otic capsule portion. As radiographic CA enlargement has not been convincingly reported to date, it appears to be an exceedingly rare or perhaps even nonexistent malformation. It is important to recognize than even a radiographically normal CA may be hyperpatent. It is theoretically possible for increased fluid flow to result from either deficiencies in intraluminal membrane baffles or subtle canal enlargement beneath the resolution limits of CT scanning. However, as fluid flow through a tube is regulated by its narrowest point, It is extremely improbable that stapes gusher, transotic CSF leak, and vigorous perilymphatic fistula are generated by the CA when CT scans show any portion of it to be very narrow. A substantial body of evidence points to a deficient partition between the internal auditory canal and inner ear as causative in such cases. We propose that the criteria for the diagnosis of CA enlargement on high-resolution CT scan be a diameter exceeding 2 mm throughout its course from the posterior fossa to the vestibule.
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Chernenko, О. "SEMIOSIS OF INTERPERSONAL CONFLICTS IN ENGLISH ARTISTIC DISCOURSE". MESSENGER of Kyiv National Linguistic University. Series Philology 25, nr 1 (26.08.2022): 134–41. http://dx.doi.org/10.32589/2311-0821.1.2022.263129.
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The current paper presents an overview of interpersonal conflicts in discourse area of character in modern English fiction discourse from the standpoint of multimodality theory, pragmalinguistics, and semiotics. In this respect semiosis is defined as the action of a sign, a dynamic process of meaning-making and meaning-interpretation realized through multimodal semiotic modes which collectively construct the meaning, communicated in these situations. This constructing is proceeded with the help of conflictives as emergent discursive constructs, the result of interactive constructing by means of verbal, nonverbal and graphic semiotic resources functioning in different stages of conflict communicative process. The linguosemiotic space of their realization is in the plane of disharmony of interpersonal relations of characters and its semiosis is built on cognitive, semiotic, communicative, and pragmatic specifics of conflictives as operational units of conflict discourse. Moreover, the appropriate inferences require understanding of cognitive, psychological, social, and cultural aspects accompanying narration.The aim of the study is also to establish a link between different approaches to the interpretation of conflict communication development and methods of their research in modern scientific studies. Multimodal nature of conflictives comprises several modes of multimodality for the analysis of conflict semiosis in fiction discourse: verbal, nonverbal, visual, auditory, kinetic etc. These patterns of meaning combination or meaning multiplication through different semiotic modes together construct the meaning, communicated and interpreted in the situations of interpersonal conflicts in discourse area of character in modern English fiction discourse. To achieve the objectives of research, a semiotic approach to the paradigm of conflict discourse approaches is applied, together with the elements of conversational analysis, multimodal discourse analysis, pragmatic analysis. The obtained results show the capacity of the semiotic approach to the conflict studies to enhance the effectiveness of linguistic research in the field of conflict studies.
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Hayes, Tracy. "Aural disturbance in the stories of M. R. James". Short Fiction in Theory & Practice 11, nr 1-2 (1.06.2021): 111–25. http://dx.doi.org/10.1386/fict_00039_1.
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The physical process of receiving and interpreting sound creates not just an auditory experience through vibrations registering within our bodies; sounds can also evoke feeling and conjure up mental images. This is especially true of acousmatic sounds, which Michel Chion describes as sounds that are heard while their source remains invisible, and such sounds are thus perfect vehicles for conveying one feeling in particular: terror. If one is not able to see what one can hear, the ensuing sense of terror is heightened. Through the use of sound, and indeed the deliberate absence of sound, M. R. James, I would like to argue, is able to concoct in his stories an atmosphere of malevolence, in which his ‘executors of unappeasable malice’ (as Michael Cox describes them) are often heard rather than seen. This emphasis on sound over image, and the manipulation of it, can be traced back to the fact that James was an oral storyteller before he was a writer of fiction, and that his tales were originally intended for a listening audience. A linguist with an ‘ear’ for language and an aptitude for mimetic brilliance, James deploys alien soundscapes and aural disturbance to create sound as a tangible element within rich sonic tapestries that feature unique aural signatures and instances of acoustic chaos. Drawing on the work of David Hendy on ‘the primalness of the auditory’, Leigh Schmidt on ‘sound corporeality’, and Jonathan Sterne on ‘acoustic culture’, this article demonstrates how James utilized auscultation (or the act of listening) to promulgate terror through auditory images as elusive shape-shifters.
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Gargaglioni, Luciane H., Janice T. Meier, Luiz G. S. Branco i William K. Milsom. "Role of midbrain in the control of breathing in anuran amphibians". American Journal of Physiology-Regulatory, Integrative and Comparative Physiology 293, nr 1 (lipiec 2007): R447—R457. http://dx.doi.org/10.1152/ajpregu.00793.2006.
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The present study was designed to explore systematically the midbrain of unanesthetized, decerebrate anuran amphibians (bullfrogs), using chemical and electrical stimulation and midbrain transections to identify sites capable of exciting and inhibiting breathing. Ventilation was measured as fictive motor output from the mandibular branch of the trigeminal nerve and the laryngeal branch of the vagus nerve. The results of our transection studies suggest that, under resting conditions, the net effect of inputs from sites within the rostral half of the midbrain is to increase fictive breathing frequency, whereas inputs from sites within the caudal half of the midbrain have no net effect on fictive breathing frequency but appear to act on the medullary central rhythm generator to produce episodic breathing. The results of our stimulation experiments indicate that the principal sites in the midbrain that are capable of exciting or inhibiting the fictive frequency of lung ventilation, and potentially clustering breaths into episodes, appear to be those primarily involved in visual and auditory integration, motor functions, and attentional state.
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Ding, Yang. "Sensory extension, imagined scenes and affective connection: A qualitative analysis of Chinese documentary podcast Page Seven". Radio Journal:International Studies in Broadcast & Audio Media 21, nr 2 (1.12.2023): 201–19. http://dx.doi.org/10.1386/rjao_00083_1.
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Documentary podcasts are attracting people’s attention as a form of podcast. These non-fictional aural texts require substantial effort and time to produce, presenting true stories to the audience through the utilization of recording technology and sound design, resulting a distinct aesthetic. Taking Page Seven as a case study, the objective of this article is to examine the process of auditory scene interaction between the audience and the aural text in documentary podcasts. Page Seven was founded in 2012 and is recognized as the first audio documentary podcast in Mainland China. This article posits that documentary podcasts engage the audience’s visual perception in addition to their auditory perception. The realistic soundscape and the listener’s imagination merge to form the auditory scene. By applying the uses and gratification theory and narrative transportation, this study reveals that Page Seven allowed the audience to fulfil multiple needs, including affective needs. This study attempts to explain the communication process of documentary podcasts from three aspects: sensory, imagination and emotion, thereby enriching the cultural landscape within the realm of documentary podcasts.
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Vorobyova, Olga. "Multimodality and transmediality in Kamal Abdulla’s short fiction: a cognitive-emotive interface". 24, nr 24 (16.10.2022): 91–102. http://dx.doi.org/10.26565/2218-2926-2022-24-07.
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This paper addresses the issues of in-built multimodality and transmediality as well as their interface employed in “Could You Teach Me to Fly…?”, a short story by Kamal Abdulla, a well-known Azerbaijani writer, scholar, and public figure. Relying upon the cognitive-emotive approach as the ground for multimodal text analysis, the research interprets the above concepts as interphenomena, which, along with iconicity, intermedial references, and manifestations of verbal holography as the interplay of planes and vectors, create the effect of literary text multidimensionality. The paper claims that the short story that belongs to intellectual prose foregrounds the metaphor of love as a magic gift that endows a person with capacity to fly. This metaphor is embodied in the iconic image of a white bird the woman in love turns into. The paper shows that the magic of imagery based on fairytale and mythopoetic motifs reveals itself through a set of visual, auditory, and kinesthetic manifestations of multimodality accompanied by the use of zoom-in/zoom-out cinematic techniques. The magic of paradoxical imagery, where a naked woman symbolizes an emotionally intense silence, is enhanced by discourse transmediality, due to which the key visual image of the woman-bird flying high into the sky as if evaporating transforms into an integrated kinesthetic poetry-dance-film image. Given all this, the paper suggests several techniques of cognitive-emotive multimodal analysis, which might further enrich the metamethod of literary text disambiguation as a way of its interpreting aimed to reconstruct a literary work’s conceptual structure while defining the factors of textual multidimensionality and deepness.
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Simonsen, Michèle. "Comment distinguer entre conte et légende : critères internes, critères externes". Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, nr 8 (18.12.2019): 99. http://dx.doi.org/10.17345/elop201999-107.
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Pour les folkloristes classiques, le principal critère de distinction entre conte et légende est l’opposition entre fiction et croyance. Un conte est tenu pour fictif par le conteur comme par son auditoire ; alors que les événements surprenants rapportés dans une légende sont tenus pour vrais (par l’informateur, pas par le chercheur ! Mais comment pouvons-nous savoir si le « peuple » croyait à ses légendes ?Les folkloristes moderne ont une conception plus nuancée de la légende, et voient dans celle-ci un énoncé à propos duquel la question de la véracité est pertinente. Alors que la narration d’un conte suscite des réactions de plaisir et des appréciations de type esthétique, la légende suscite des discussions sur sa plausibilité les causes des événements rapportés et la leçon morale à en tirer. L’attention au contexte de la performance est donc essentielle pour distinguer entre conte et légende. Mais lorsque nous cherchons à classifier des documents d’archive collectés il y a plus de cent ans, et profondément remaniés pour la publication, nous n’avons pas de renseignement contextuel à notre disposition. Nous devons nous en tenir aux critères internes. Les légendes disposent de plusieurs procédés rhétoriques pour affirmer ou feindre d’affirmer la véracité des événements qu’elles rapportent.Toutefois certains récits maintiennent un statut ambigu entre conte et légende. Tel récit facétieux et fictif aux yeux de l’informateur peut être pris pour un récit de croyance par le collecteur. Un récit peut même avoir un statut ambigu pour la communauté. Un conteur doué est parfois plus intéressé par la valeur esthétique d’un récit de croyance que par sa valeur cognitive. On peut peut-être avancer que plus un récit de croyance est esthétiquement élaboré, moins on est en droit de conclure sur la croyance qu’il est censé exprimer.***Per als folkloristes clàssics, el criteri principal per distingir històries i llegendes és l’oposició entre la ficció i la creença. Un conte és conegut per la narrativa i el públic, mentre que es creu que els esdeveniments sorprenents descrits en una llegenda són veritables (per part de la gent, però no per l’erudit!). Però, com sabem si la gent creia en les seves llegendes?Els folkloristes moderns tenen una visió més matisada de les llegendes i afirmen que, a diferència dels contes, les llegendes són narratives sobre les quals la qüestió de la veritat o la falsedat és rellevant. La narració d’un conte genera comentaris de plaer i d’apreciació estètica, mentre que la narració d’una llegenda porta a debats sobre la seva versemblança, l’explicació dels fets reportats i les lliçons morals que s’extrauen. Per tant, l’observació dels participants i l’atenció escrupolosa a l’exercici de les històries de creences són fonamentals per a la distinció entre contes i llegendes. Però, quan hem de classificar el material d’arxiu recopilat fa uns 100 anys i alterat per publicar-lo, aquesta informació contextual ens falta. Hem de recórrer a proves internes. Les llegendes tenen a la seva disposició diverses eines retòriques per afirmar la veritat dels esdeveniments sobre els quals informen.Tot i així, algunes històries es mantenen en la frontera entre el conte i la llegenda i tenen un estatus ambigu. Un relat fictici a ulls de l’informant pot haver estat pres per una història de creença per part del col·lector. A més, una història pot ser, de vegades, un relat de frontera per a la mateixa comunitat. Els narradors dotats poden estar més interessats en el valor estètic d’una història de creença que en el seu valor cognitiu. Es pot afirmar que, com més narrativa sigui la llegenda elaborada, menys podem deduir sobre la creença que se suposa que expressa.
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Liu, Yuexi. "Hearing Voices: The Extended Mind in Evelyn Waugh's The Ordeal of Gilbert Pinfold". Modernist Cultures 15, nr 2 (maj 2020): 202–24. http://dx.doi.org/10.3366/mod.2020.0289.
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Waugh's last comic novel The Ordeal of Gilbert Pinfold (1957) takes ‘exterior modernism’ to a new height, no longer avoiding interiority – as in his interwar fiction – but exteriorising the interior through dissociation. ‘The Box’, to which the writer-protagonist attributes the source of the tormenting voices, may well be his own mind, an extended – albeit unhealthy – mind that works as a radio: he transmits his thoughts and then receives them as external signals in order to communicate with them. Pinfold's auditory hallucinations are caused by the breakdown of communication. Interestingly, writing is also a dissociative activity. Concerned with the writer's block, the novel reflects on the creative process and illuminates the relationship between madness and creativity. If dissociation, or the splitting of the mind, is a defence against trauma, the traumatic experience Pinfold attempts to suppress is the Second World War. The unusual state of mind accentuates the contingency of Waugh's radio writing; his preferred medium is cinema.
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Nathaniel, Steve. "Virginia Woolf, Anechoic Architecture, and the Acoustic Hermeneutic". Novel 54, nr 1 (1.05.2021): 1–18. http://dx.doi.org/10.1215/00295132-8868743.
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Abstract This article describes Virginia Woolf's preoccupation with acoustics and its relationship both to her writing process and to the development of sensibility that she narrativizes in The Waves. It situates Woolf's theoretical and fictional models of listening with respect to the rising science of architectural acoustics and to the social imperative to control sound in urban spaces. It argues that Woolf responds to the psychological and social exigencies of modern sound by integrating textual and architectural listening modes in an acoustic hermeneutic: a listening practice common to the objects of architecture and text, one that accommodates both scientific and aesthetic ends. The acoustic hermeneutic marks the convergence of oft-estranged listening practices—one that apprehends the silent materiality of the text as if it were an audible room and, conversely, one that apprehends architecture with the auditory imagination traditionally exerted toward literature. While the article explores Woolf's particular invocations of auditory science in her formal innovation, it also aims toward a widely applicable critical approach to the inaudibilities of the novel.
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Parvulescu, Constantin. "The Political and Economic Intervention of Non-Fiction Money Literacy Film in the Post-2008 Era". Canadian Journal of Film Studies 30, nr 1 (kwiecień 2021): 49–71. http://dx.doi.org/10.3138/cjfs-2020-0034.
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L’auteur livre la première analyse critique des illustrations contemporaines de la notion d’argent dans le cinéma documentaire et en indique l’argumentaire prédominant. L’analyse porte sur des films de littératie financière comme The Ascent of Money: A Financial History of the World (Adrian Pennick, 2009), Money and Life (Katie Teague, 2013), Money Puzzles (Michael Chanan, 2016) et Blockchain City (Ian Kahn, 2018). Elle révèle la réflexion politique et économique qui nourrit la perspective dans laquelle la question monétaire est envisagée dans le film, la façon dont y est racontée l’histoire de l’argent et décrit son rôle dans la société après 2008, et ses conclusions plaident pour une amélioration de la performance du système monétaire. Les constructions narratives, les méthodes d’enquête, la distribution des rôles, les métaphores visuelles et auditives, et les auditoires implicites de ces films sont examinés. L’auteur emploie dans son analyse trois variables complexes qui concourent à dépeindre l’angle économique et politique de chaque œuvre : niveau de formalisme, construction de l’expertise et interprétation de la crise financière.
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Delazari, Ivan. "Contrafactual Counterpoint: Revisiting the Polyphonic Novel Metaphor with Faulkner's The Wild Palms". CounterText 5, nr 3 (grudzień 2019): 371–94. http://dx.doi.org/10.3366/count.2019.0171.
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The article theorises the notion of contrapuntal polyphony as applied to literary narrative and sketches out an algorithm for reading William Faulkner's 1939 The Wild Palms in terms of the musical analogy. Contrapuntal fiction is contrafactual, since neither actual sound nor simultaneous parts of equal importance are presented in literary narrative. Such notions as ‘the polyphonic novel’ and ‘novelistic counterpoint’ are attacked from the vein of restrictionism by scholars who are dissatisfied with the metaphoricity of these terms despite their coiner Mikhail Bakhtin's disclaimer that no literal link to music is originally intended. Leaning on the heuristic and perceptual value of metaphors as illuminated by cognitive studies, this paper outlines an extensionist audionarratological alternative to the restrictionist approach by arguing that perceptual methods of processing parallel melodic lines and consecutive segments of narrative information share the common gestalt basis discussed in the auditory scene analysis of psychoacoustics. Opting to register and internalise certain details in the two apparently unrelated alternating stories of The Wild Palms, the reader begins to assemble a mental score and to learn performing the parts simultaneously, toward an integrated polyphonic whole.
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Samuel, Boris. "False Accounting as Formalizing Practices". History of Political Economy 53, nr 6 (26.08.2021): 81–110. http://dx.doi.org/10.1215/00182702-9414789.
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This article studies the inference procedures used to compute the macroeconomic indicators feeding into the International Monetary Fund’s monitoring and surveillance in Africa since the structural adjustment. In 2005, the IMF launched a procedure to denounce a Mauritanian “misreporting” over a twelve-year period. The article wonders how could the statistical fiction be validated by the IMF economists, and to what extent they took part in Mauritanian data production. The article argues that the auditor-auditee relation places less importance on the veracity and the pertinence of numbers than on the formal conformity of data and economic programs with expectations of the IMF bureaucracy. For programs and statistics to be considered consistent, tables of estimates must be filled out, even when data are missing, and the economic diagnosis must comply with monetarist-dominant orientations. By analyzing the financial programming tool, the article shows that the treatment of basic national accounting identities neglects variables like household consumption even when alternative methods exist. Changes in methods may be discarded to ensure the legibility of economic works over the years. The article therefore argues that the IMF and countries coproduce false accounts, whereby inferences of macroeconomic estimates serve other institutional functions inside the IMF besides veracity.
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Pazio-Wlazłowska, Dorota. "“To be honest, I’m pretty fat. Actually, I’m very fat”. Adjective fat as a Representation of the Concept of Obesity (Based on Corpus Data) – Preliminary Remarks". Vilnius University Open Series, nr 2 (30.07.2021): 148–61. http://dx.doi.org/10.15388/vllp.2021.9.
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The article attempts to reconstruct the concept of obesity on the example of the adjective fat as one of its lexical representation. As a material for analysis, the texts of contemporary fiction (1990s–XXI century) obtained from the National Corpus of the Polish Language are used. An overweight people are characterized in the extracted material in physical, mental, aesthetic and social aspects. In the physical aspect, the face, teeth, hairstyle, hair color and appearance, height and size, as well as the physical activity are examined. Symptomatic for the physical aspect is the use of intensifiers: very obese, unbelievably obese, indecently obese. Within the mental aspect, character traits, intellectual potential, self-esteem and drug addiction are analysed. In the social aspect, attention is paid to the reluctant attitude of the environment towards obese people, the relationship of obese people with the opposite sex, as well as the main fields of activity, mainly excessive eating. As part of the aesthetic aspect, auditory, visual and olfactory impressions are analyzed. In the course of analysis lexical units used to characterize obese people are identified. The analysis shows that obese people are repulsive, unaesthetic, they smell badly and look unattractive, they eat all the time and move with difficulty. They are usually friendly and kind, but they have complexes about their looks.
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Hanlon, Christopher. "Whitman’s Atlantic Noise". Nineteenth-Century Literature 70, nr 2 (1.09.2015): 194–220. http://dx.doi.org/10.1525/ncl.2015.70.2.194.
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Christopher Hanlon, “Whitman’s Atlantic Noise” (pp. 194–220) This essay considers Walt Whitman’s “A Word Out of the Sea,” from the 1860 edition of Leaves of Grass, for its aural qualities—acoustically twittering birds, the hissing “undertone” of the ocean, for example—linking the poem to a wider antebellum interest in the electronic noise of telegraphy. I argue that this poem’s auditory effects bring Whitman into discussion with many others during the 1850s and 1860s who were interested in the sonic qualities of telegraphic noise quite apart from the words those noises encoded. Calling upon an array of cultural documents including songsheets, poems, fiction, and technical commentary, I suggest that “A Word Out of the Sea” condenses a singular moment in American intellectual life wherein the widespread deployment of telegraphic technology honed much interest in the interplay of sound and meaning. In this way, “A Word Out of the Sea” helps further current discussions over the resonance of nineteenth-century information technology among U.S. commentators (including poets), first-generation users who were less constantly focused than we might suppose upon the epistemological ramifications of the telegraph as a harbinger of unthinkably efficient, global communication. In many other ways, these observers of the telegraph were just as struck by the telegraph’s ontological properties, and especially the kinds of sounds it generated.
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Schwartz, Ethan. "First-Person Narration and the Poetics of Theophany in the Deuteronomic Horeb Account". Catholic Biblical Quarterly 85, nr 4 (październik 2023): 618–39. http://dx.doi.org/10.1353/cbq.2023.a908816.
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Abstract: In recent years, scholars of the Hebrew Bible have increasingly challenged entrenched dichotomies between historical criticism and literary theory. This integrative approach draws on contemporary literary studies to achieve a fuller understanding of biblical texts as fictive works in their ancient historical contexts. Theophany narratives invite especially fruitful application of this approach because they are both culturally specific and literarily complex. In this article, I contribute to this conversation by analyzing the fictive role of narrational voicing in Deut 4:1–40, the opening section of Moses's first-person account of the Horeb theophany in the pentateuchal Deuteronomic source. This passage famously underscores the auditory (as opposed to visual) character of the Horeb theophany in order to provide phenomenological ground for aniconism. While scholars usually treat this as a tenet of Deuteronomic theology, I argue that it is also part of the Deuteronomic poetics of first-person narration: Moses is framing the theophany in terms of his experience of the molten calf, which has already happened within the story world of D. This literary effect emerged both through Deuteronomic engagement with the earlier, Elohistic version of the story and through retrospective sapientialization of earlier material within D itself. Integrating historical-critical and literary-theoretical approaches shows how Deut 4:1–40 uses first-person narration to construct the theophany through the character development of the narrator.
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Lacourcière, Luc, i Jean-Pierre Pichette. "Le folklore et les femmes". Inédit 15 (29.09.2017): 161–80. http://dx.doi.org/10.7202/1041124ar.
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En 1957, l’Association des médecins de langue française du Canada tenant son xxviie congrès à Québec, avait convié le titulaire de la chaire de folklore de l’Université Laval à livrer une conférence, non pas aux médecins, mais à leurs épouses au cours d’un déjeuner-causerie le 24 septembre. Pour la circonstance, Luc Lacourcière avait choisi un sujet qui ferait le pont entre sa spécialité et son auditoire : le folklore et les femmes. L’exposé se divisait en trois points. À la suite d’un préambule spécifiant avec humour le mandat qu’on lui avait donné, le conférencier s’intéressait d’abord aux femmes folkloristes, celles qui avaient laissé leur marque dans la cueillette ou dans l’étude des traditions populaires ; ensuite, il présentait quelques informatrices notables, les centenaires, les sages-femmes, les conteuses, qui avaient transmis aux chercheurs une partie de leur répertoire ; puis, en finale, il analysait brièvement le rôle que jouent les femmes dans les fictions populaires, contes réalistes, merveilleux ou facétieux.
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Crosbie, Christopher. "Aristotelian Time, Ethics, and the Art of Persuasion in Shakespeare’s Henry V". Literature 3, nr 1 (31.01.2023): 82–93. http://dx.doi.org/10.3390/literature3010007.
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In his response to the Dauphin, his threats before Harfleur’s walls, and his St. Crispin’s Day oration, Henry V deploys what we might call proleptic histories of the present as a means of rhetorical persuasion. Henry invites his audiences, that is, to imagine themselves in the future, understanding the present as part of their own history. Henry’s invocation of an imagined future that understands the present as a theoretical past betrays a surprising indebtedness to Aristotle’s notion of time as “a measure of change with respect to the before and after.” Drawing on Aristotle’s theory that time depends upon a perceiving mind and that those unconscious of change mistakenly “join up the latter ‘now’ to the former and make it one,” this essay argues that Henry succeeds in altering his auditors’ behavior, and thus generating the history he desires, by merging their shared, lived present with his own fictive temporalities. A mode of persuasion famous in its ethical ambivalence, Henry’s rhetoric reveals how the very ontological assumptions governing perceptions of time may be manipulated, for good or ill, amid audiences who fail to critically envisage their own counterbalancing, imaginative histories.
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Lachance, Isabelle. "La Coppie d’une lettre envoyee de la Nouvelle France, ou Canada (1609) : la fiction épistolaire au service de la politique missionnaire jésuite ?" Tangence, nr 90 (2.09.2010): 25–35. http://dx.doi.org/10.7202/044338ar.
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La Coppie d’une lettre envoyee de la Nouvelle France, ou Canada, imprimée à Lyon en 1609, relate la traversée de l’Atlantique et le séjour américain d’un missionnaire reçu dans la plus haute société. Émaillé de noms de personnes et de lieux sans lien avec la réalité historique de la colonisation française en Amérique au début du xviie siècle, ce récit n’est pas sans entretenir de rapports avec une autre représentation de la Nouvelle-France, tout aussi fictive que complaisante à l’égard de la noblesse d’épée et publiée la même année dans l’Histoire de la Nouvelle-France de Marc Lescarbot. Cependant, même si ces deux documents charrient une même vision utopique et déréalisée de la colonisation, le récit épistolaire, contrairement au récit historique, assure à son auteur le privilège de formuler une expérience particulière qui ne peut être confrontée à aucune autre, ainsi que la possibilité de s’adresser à un auditoire qui s’identifiera au destinataire de la lettre, simplement désigné comme un « amy ». La Coppie comportant l’imprimatur de la Compagnie de Jésus, il est à supposer qu’elle aura été publiée avec l’accord des Jésuites, soucieux de s’acquérir quelque soutien dans leur recherche de moyens de passer en Nouvelle-France.
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Sutton, Matthew Daniel. "Motion and the Noise". JAAAS: Journal of the Austrian Association for American Studies 1, nr 2 (30.12.2020): 317–29. http://dx.doi.org/10.47060/jaaas.v1i2.131.
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William Faulkner's dislike of unwanted sound is well documented. The acoustic environment of rural Mississippi amplified irreversibly after the introduction of the automobile, airplane, and automated farm machinery. In his Intruder in the Dust (1948), the jukebox and radio absorb pointed criticism for producing "canned" sounds outside of their "proper" environment. The narrowing gap between town square and dance hall signifies encroaching chaos, as noise drowns out the attenuated "harmony" that keeps elite whites in power and Intruder's African American protagonist Lucas Beauchamp out of the hands of the lynch mob. For Faulkner, the shift in the auditory environment presents both a disruption and an impediment to a system built on white bourgeois ideals. However, Faulkner's pessimism is counterpointed by sociological studies undertaken by Fisk University researchers. The Fisk study identifies the emergence of a blues culture in the Delta whose energy and boundary-crossing impulses illustrate the liberating possibilities of an expanding soundscape. By juxtaposing Faulkner's damning descriptions of "the motion and the noise" with the Fisk University researchers' illuminating fieldwork, this essay interprets a transformative period in the constantly shifting soundscape of the U.S. South. In line with Jacques Attali's dictum that "our music foretells our future," Intruder in the Dust anticipates the cultural upheaval that would energize the Civil Rights Movement. Both in fiction and in fact, the "noise" emanating from jukeboxes and radios in 1940s Mississippi accelerated social change at a volume much higher and a tempo much faster than Faulkner and other gradualists desired.
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MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening". Music, Sound, and the Moving Image 15, nr 1 (1.07.2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.
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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.
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BEISEMBAYEVA, Saltanat, i Akmaral KARPYKBAEVA. "CRITERIA FOR LITERARY DEVELOPMENT OF STUDENTS". Cherkasy University Bulletin: Pedagogical Sciences, nr 4 (2020): 229–32. http://dx.doi.org/10.31651/2524-2660-2020-4-229-232.
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Introduction. Qualitative changes in the perception of fiction by schoolchildren of different ages pose the task of methodologists to define the concept of "literary development" and its criteria, which to a large extent should determine the direction and methods of studying artistic works. The methods. Definition of the concept of "literary development" and its criteria, which to a large extent should determine the direction and methods of studying artistic works. Results. Need form validation that would test both knowledge and skills, and yet would contain clear criteria for assessing knowledge and skills of students with different level of training, would be consistent with the concept of school literary education and educational standards in the literature, including "Requirements to level of preparation of students". The main school should form an understanding of the specific laws of literature and the nature of its impact on the reader. In grades 5–9, there is a "systematic accumulation of information and ideas related to the generic, genre and stylistic specifics of literature". A graduate of a basic school should become a reader capable of "artistic perception, their own reflections, experiences, associations". The level of literary development of schoolchildren is closely related to their philological abilities, age and individual characteristics, and the effectiveness of educational activities. The most important quality of the reader – the need to Express a feeling, idea, thought in the word, "germination" words in visual, auditory, and other associations, emotional sensitivity to the word, intonation and style of speech, a holistic attitude to the literary work, a General look at its architecture, the conceptual perception of the composition. Originality. The content of literary education of high school students in accordance with these criteria allows us to speak about their readiness for independent re- search work in literature lessons. Conclusion. The level of literary development of schoolchildren is closely related to their philological abili- ties, age and individual characteristics, and the effectiveness of educational activities. The most important quality of the reader – the need to Express a feeling, idea, thought in the word, "germination" words in visual, auditory, and other associations, emotional sensitivity to the word, intonation and style of speech, a holistic attitude to the literary work, a General look at its architecture, the con- ceptual perception of the composition.
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Kiuru, Konstantin, i Aleksei Krivonosov. "Media Environment Transformations as an Object of Study of the Theory of Mass Communications". Theoretical and Practical Issues of Journalism 7, nr 4 (15.10.2018): 711–23. http://dx.doi.org/10.17150/2308-6203.2018.7(4).711-723.
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Changes in the media environment always lead to changes in the media system, which reflects a different quality of communication. The nature of actors, channels, effects becomes an object of attention of researchers of mass communications. The article deals with the problem of the transformation of the mass communication system, which includes both cinematography and fiction, which can be freely broadcast through various channels, including digital channels. The article considers a new concept, i.e. "communication product". It is understood as a result of professional activity in the field of public and mass communications for the production of a media product, an event product, an advertising and PR product. The media environment is currently characterized by its own messages. They can be built both in traditional newsmaking models (both in journalism and public relations), and in storytelling, narrative (both in advertising and media communications). The article considers such trends in the media environment as the use of hype content, memes and various fakes. The reasons for the emergence of media communications are revealed. There are technological reasons, as modern communication technologies can open access to information to all comers. There are social ones, as new media allows Internet users to actively participate in communications and selectively treat messages they receive. The characteristics of the phenomenon of media communications are distinguished, separating it from journalism, advertising and public relations. The notion of media communications as a process of creation, processing and broadcasting, as well as information exchange in individual, group, mass format through various channels of mass communication (mainly online) is being introduced into scientific circulation through various communication tools - verbal / non-verbal; auditory, audiovisual, visual.
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Sweeney, Susan Elizabeth. "Echoes of Ventriloquism in Poe's Tales". Poe Studies 54, nr 1 (2021): 127–55. http://dx.doi.org/10.1353/poe.2021.a825744.
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ABSTRACT : Distant-voice ventriloquism was a wildly popular entertainment in the 1830s and 40s, featuring performers who staged conversations with invisible speakers or imitated the noises of unseen animals and objects. Poe knew about voice-throwing from reading Charles Brockden Brown's Wieland , Henry Cockton's Life and Adventures of Valentine Vox, the Ventriloquist , and David Brewster's Letters on Natural Magic ; he probably also attended ventriloquists' shows; and he frequently mentioned Signor Blitz, a performer in Philadelphia. Poe's stories were profoundly influenced by ventriloquial techniques and effects. Sometimes he referred explicitly to characters' mimicry of sounds. More often, he constructed his tales around the kinds of auditory illusions that appeared in ventriloquists' acts. To demonstrate how ventriloquism shaped Poe's storytelling, I cite over a dozen tales, particularly "The Murders in the Rue Morgue" and "The Fall of the House of Usher." In these tales, Poe adapted techniques that his antebellum audience would have recognized—controlling the breath; employing different parts of the vocal apparatus to create guttural, resonant, wheezy, hollow, or shrill tones; using mechanical devices to facilitate speech; uttering words without moving the lips; orchestrating various noises, sometimes in concert; and placing sounds in hidden or enclosed spaces—all to guide readers toward the final effect he had in mind. Such techniques shaped Poe's construction of tales in every genre: horror, detective fiction, hoax, and humor. Ventriloquism let him represent, in a tale's plot, narration, imagery, or theme, the very process of using sounds to create an effect. It also enabled him to explore unsettling connections between the voice and identity, imposture, masculine power, and death. But even as he alluded to distant-voice ventriloquism, Poe surpassed it by depicting noises that readers never actually hear: each tale hints that no matter where a sound seems to come from, its ultimate source is the audience's imagination.
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Bose, Ines, i Kati Hannken-Illjes. "On the role of voice and prosody in argumentation among pre-school children". Research on Children and Social Interaction 4, nr 1 (21.07.2020): 51–72. http://dx.doi.org/10.1558/rcsi.12415.
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This paper focuses on the role of voice and prosody in children’s argumentation and its relation to framing argumentation as more or less cooperative. Theoretically the project draws from rhetoric, argumentation studies, child studies and linguistics. After a brief overview of the current state in children’s argumentation we shall discuss the notion of multimodality in argumentation studies, specifically the role of voice and prosody in argumentation. The paper analyses two instances of child–child argumentation that show striking similarities and differences: Both deal with the same quaestio – that is the same controversial standpoint – and employ similar topoi – that is formal and material resources for arguments. However, they differ with respect to the cooperative framing – that relates in part to the framing of the interaction as fictional or factual – and with respect to the interaction tension. Methodologically, the paper takes a sequential perspective, grounded in conversation analysis and auditory phonetics. We work with longitudinal corpora of authentic child–child communication (3.0–7.0) in play. We argue that other-than-verbal means like voice and prosody play a crucial role in framing the interaction, thereby mediating the degree of cooperativity. This mediation has consequences for the elaboration of argumentative sequences by the children. Thus, voice and prosody we argue, can play a substantial role in argumentation.
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Mystakidis, Stylianos, Giorgos Filippousis, Dimitrios Tolis i Effrosyni Tseregkouni. "Playful Metaphors for Narrative-Driven E-Learning". Applied Sciences 11, nr 24 (9.12.2021): 11682. http://dx.doi.org/10.3390/app112411682.
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A team of e-learning specialists was assigned the mission to design and develop seven short e-learning modules for young learners on popular topics with a prime focus on social-emotional learning. However, these courses had to be produced on a limited budget, hosted in a Moodle platform, and be delivered for free in asynchronous only mode. Hence, a playful method of meaningful storyfication was applied in e-learning to captivate attention and spark interest. In each module, a fictional story or metaphorical challenge with playful elements was introduced where learners were invited to assist the story’s protagonists or become the heroes themselves by engaging with content. As the role of teachers is vital for the adoption of technology-based solutions in education, a mixed method evaluation was undertaken to assess the effectiveness of the method. Forty-two educators reviewed the courses, answered a questionnaire and participated in interviews. Results indicated that participants highly appreciated the narrative aspects, visual, and auditory elements rendering the e-learning courses effective for the target audience. This article can assist educators, distance education designers and developers to adopt a playful mindset and learn how to integrate practically storytelling elements into their classroom-based and online teaching.
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Shalamay, Anastasia. "The Functioning of Communicative Units in the In-game Text of Video Games". Studia Philologica, nr 22 (2024): 215–26. http://dx.doi.org/10.28925/2412-2491.2024.2215.
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This article describes the results of a pragmatic analysis of communicative units that were selected from different types of in-game text (spoken and written game plot-related text and interface text) taken from six video games of various game genres (action-shooter, action-adventure, role-playing game, simulator etc.) and narrative genres (fantasy, science fiction, horror, military, medieval, western). It further offers a model for classification of the abovementioned units based on the pragmatic aim of the utterance, i.e. to assist the player during gameplay or to express the artistic aspects of the game. The two main pragmatic types of utterances have respectively been labelled as ludic and narrative. It has also been noted that ludic utterances are widespread in any video game, while narrative ones can only appear in games with an in-depth virtual world, and their perception by the player does not usually affect the completion of the game. The article further suggests to use the following terms to describe the different kinds of ludic utterances: 1) identificatory (helping to recognise and distinguish between the different subjects and objects of the in-game world); 2) informative (giving practical information about those objects); 3) explicitly appellative (directly encouraging the player to act); 4) implicitly appellative (encouraging the player to act, but in an indirect manner); 5) feedback (responding to the player’s actions). Among the narrative functions, the following terms have been offered: 1) storytelling (depicting the in-game events); 2) descriptive (artistically describing the in-game world and its characters); 3) compositional (outlining the structure of the game and assisting the player to navigate through it). The study also suggests that an utterance can combine multiple communicative functions, and the abovementioned functions be expressed not just verbally, but also via the visual, auditory, haptic and other modes since videogame discourse is a multimodal type of discourse. The results of this study can help in training of localization specialists as this research should facilitate their understanding of the pragmatic purpose behind the translated fragments of text.
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Loesberg, Jonathan. "BROWNING BELIEVING: “A DEATH IN THE DESERT” AND THE STATUS OF BELIEF". Victorian Literature and Culture 38, nr 1 (23.02.2010): 209–38. http://dx.doi.org/10.1017/s1060150309990404.
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Some John, we are told, possibly both the Evangelist and the beloved apostle, but, for reasons we will see, possibly only one, the other, or neither, reanimated so his dying words can be recorded by other early Christians, tries to tell those who will now live with no contact with anyone who had contact with Jesus Christ, how they may live with that absence. Although his reanimaters preserve and venerate his words, it's not clear that they actually follow them or even understand them. In the wake of the questions first German Higher Criticism and then more recent work in the 1860s had raised with regard to the historical accuracy of the New Testament, Robert Browning, tries to propose how his contemporaries might believe. At the same time, as a consequence of a definition of how to believe, Browning also suggests how to look at the beliefs of others as expressions of one's condition and situation rather than as assertions whose accuracy it is in our interests to measure: he tells us what a dramatic monologue may show us. With regard to either aim, either with his contemporaries or with his critics, he did no better than John did with the poem's auditors. At least with regard to the issue of how to believe, one watches an odd critical history as readers have become increasingly aware of how completely Browning seems to have accepted the conclusions of the Higher Criticism about the historicity of the gospels, but have refused to accept how completely this meant that his justification for belief wound up reproducing the Higher Critical position about the historical reality of Christianity, with the addition of an epistemologically daring and dangerous justification of willed belief in an object accepted as possibly fictional that gives his ostensible Christianity only the appearance of an orthodoxy it had in fact abandoned.
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Bykhanova, Maria A. "MEDIATIZATION METHODS OF FOLKLORE CHARACTERS IN VIDEO GAMES. THE CASE OF “YAGA” GAME". Folklore: structure, typology, semiotics 6, nr 2 (2023): 97–111. http://dx.doi.org/10.28995/2658-5294-2023-6-2-97-111.
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The article is devoted to the mediatization of mythological characters of Slavic folklore by means of an example of the video game “Yaga”, created by Breadcrumbs Interactive studio in 2019. The mediatization of folklore allows us to see how traditional ideas are transformed when they get into the media environment and how folklore is “translated” into the language of the media. In this case, a computer game is considered as a text consisting of various (visual, verbal, etc.) signs. The author undertook structuralsemiotic analysis of the character system of video games that is used both in folklore and game studies to identify functions and plot roles, as well as visual, auditory, and other methods of media representation of game images borrowed from folklore. The article attempts to answer the following questions: are the functions of game characters similar to the functions of their folklore prototypes? Are there any similar stories in bylichki, or in this case we are dealing with completely fictional stories by the authors of games, which are only trying to be similar to folklore ones? Here it will be difficult to simply make a comparative scheme by comparing video game and folklore images, since the game does not have a full-fledged bestiary (a separate tab in the game menu where we could see full information about the character). In addition, all folklore characters can be conditionally divided into full-fledged opponents, who will have no other line of behavior besides the attack, and neutral to the hero, who can attack or make contact. In one case, we can talk exclusively about the external similarity, in the other we can focus on the plots of quests in which the character appears.
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Wawing, Andi, i Idham Khalid. "ANALISIS KINERJA AUDITOR INTERNAL DALAM MENCEGAH TERJADINYA FRAUD KREDIT FIKTIF PT. BANK MUAMALAT CABANG MAKASSAR". Ar-Ribh : Jurnal Ekonomi Islam 1, nr 1 (1.12.2020). http://dx.doi.org/10.26618/jei.v1i1.2551.
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This study aims to determine whether the performance of auditors in the Makassar Branch. The method of sampling technique used was purposive sampling, namely the technique of deliberate sampling. This study uses a simple linear regression analysis method and primary data manager using the SPSS program (Statistical Product and Service Solutions). Based on the results of the testing of the Partial Test (t-Test) the hypothesis is obtained that the Internal Auditor's Performance has a positive and significant influence on the Prevention of Fictional Credit Fraud. Testing the effect of Internal Auditor Performance variables on Fictional Prevention of Fraud can be seen by looking at the value of t count of 3.737 and t table of 2.045 with a significance value of 0.001. The value of t count is greater than t table and the significance value is below 0.05 which indicates a significant effect of the Internal Auditor Performance variable on the Prevention of Fictional Fraud. So that the auditor's performance can prevent fictional credit fraud.
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ÇAKMAK, Fikrullah. "Aliens as Creator Gods in Hollywood Cinema". Eskişehir Osmangazi Üniversitesi İlahiyat Fakültesi Dergisi, 1.09.2023. http://dx.doi.org/10.51702/esoguifd.1308065.
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Cinema, which incorporates visual and auditory elements, has been one of the most important inventions of humanity. In particular, its effective reach to the masses has enabled it to emerge as an effective power over societies. Any film of cinema is not only a work that aims to entertain the masses, but also a product that sets the agenda of individuals and societies, affects their world of thought and imposes the reality it contains on societies. Cinema, which tries to produce new realities in every field, has also tried to create virtual realities in areas that religions attach importance to. One of the new truths that cinema tries to create is the subject of creation. Creation, which is also the main subject of religions, is the phenomenon that cinema has processed and reconstructed the most. Aliens are one of the myths that cinema uses against the creation narrative of theistic thought. While fictionalising the subject of creation and creating virtual realities through this fiction, cinema creates a new reality through the idea of aliens. By combining the agenda of popular culture with religious, cultural and mythological elements, cinema brings new explanations to the life on earth. This fiction is used effectively in fantasy and science fiction films. At this point, the aim of our study is to analyse the creation fictions of Hollywood films and the alien myths used in these fictions in the context of aliens, the most colourful element of popular culture.
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Tang, Ruohan, i Lai Wei. "Aural Authenticity of Virtual Reality Documentary Made in 3D Virtual Environment". Interactive Film & Media Journal 2, nr 2 (25.05.2022). http://dx.doi.org/10.32920/ifmj.v2i2.1599.
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The concept of documentary is a 'notoriously slippery eel', or even the slipperiest one in the history of cinema (Kahana, 2016). Movies inside virtual reality are one of the promising talked-about areas in the VR industry. With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept of documentary even more elusive, especially for VR documentaries made in 3D. In the viewing experience, the virtual environment is built upon computing 'true depth'. This virtual cinematic space is set up through the modelling in software (e.g. Maya and 3D Max) and then to 3D engine (e.g. Unity or Unreal). Therefore, a dialectical critique arises: Do documentary exists in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, whether it can still be considered as an authentic form of documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when the film is based entirely on fictional visual input? The current discussion on the realistic qualities of VR documentaries focuses on the questioning on the virtual nature of the visual environment and neglects that listening is also part of the experience in this VE. So, is it possible to understand the authenticity of the VR documentary from the perspective of auditory system? This paper provides a perspective for understanding the auditory authenticity of non-fictional restoration of virtual environments (VE) in virtual reality (VR) documentaries. Such a perspective argues that although the VR documentaries are made with 3D modelling and computing engine, their authenticity in sound remains in line with the documentary principle. In the sound design perspective, it simultaneously creates a non-fictional soundscape to reproduce the ‘genius loci’ (spirit of place) based on the real individual perception in history. In the first part of paper, we review how the documentary film has set itself apart as a non-fictional genre based on Bill Nichols’s analysis of the boundary between traditional documentary and its counterparts in cinema. And then we place this principle on aural reality in the context of HRCS (Head-Related Coordinate System) and HRTF (Head-Related Transfer Function) to argue VR documentary as a sub-genre of the documentary film in aural technical basis. In the second part, we explore the concept of ‘soundscape’ in the sound design of VR documentaries, analysing how such a virtual sound environment establishes an authentic spirit of space in the case of Anne Frank House VR. This study only explores the auditory sound in virtual places, and does not address the discussion of artificial fictional sounds outside cinematic space (e.g. music, voice-overs, UI Panel sounds.)