Artykuły w czasopismach na temat „Love story (Motion picture)”
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Abramova, K. V. "“Reviving Pictures” in “The Adolescence of Luvers” by B. Pasternak". Studies in Theory of Literary Plot and Narratology 15, nr 2 (2020): 472–89. http://dx.doi.org/10.25205/2410-7883-2020-2-472-489.
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We consider the features of the images’ construction in the story “The Adolescence of Luvers” by Boris Pasternak. In this regard, we turn to the analysis of individual episodes in the story, which, in our opinion, become key for revealing the theme of the main character’s growing up. The narrative itself in the poet’s prose texts is constructed in such a way that all its components are endowed with special internal dynamics, owing to which the images lose their outlines, transform, receive additional, not always decipherable meanings. We dwell on three points in detail: the collision of Zhenya Luvers with Motovilikha – the moment of the end of her infancy – and the two meetings of the heroine with Tsvetkov, an “stranger” whose figure influences Zhenya’s consciousness, her transition to growing up. In the episodes under consideration, there is a hint of an “ecphrastic mark”: the images and objects in the story seem to add up to a kind of description of the picture, although there are no direct references to pictorial or sculptural images in the story. We analyze how the similarities of the ecphrase appear in Pasternak’s text and how they transform the space of the story. The pictures appearing in the story are often enclosed in a kind of frame (visual or symbolic, for example, acoustical), they freeze for a moment, but then come back into motion. The objects that appear in these descriptions and the boundaries between them become unsteady, everything in the space of the text oscillates between static and dynamic. We dwell in detail on the analysis of images and motives that accompany the turning points for the heroine of the transition from infancy to childhood, and then to adulthood, and we come to the conclusion that they are filled with pictorial allusions, all objects are in a complex relationship: objects lose their outlines and endow internal dynamics – paintings “come to life”. Thus, we can speak of an “ecphrasis mark” that supports the internal dynamics of the text of the story “The Adolescence of Luvers”, and “reviving pictures” become an important element of the artistic world of the story by Boris Pasternak.
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Adji, Alberta Natasia. "REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS". Paradigma, Jurnal Kajian Budaya 8, nr 1 (31.07.2018): 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.
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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Rubtsova, N. S. "THE PLOT OF “FIRST LOVE” IN THE NOVEL OF THE SAME NAME BY I.S. TURGENEV AND THE “PICTURESQUE” ROMANTIC TRADITION". Bulletin of Udmurt University. Series History and Philology 32, nr 2 (29.04.2022): 319–25. http://dx.doi.org/10.35634/2412-9534-2022-32-2-319-325.
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The article is devoted to the realization of the picturesque plot in the story “First Love” by I. S. Turgenev. The main character of the heroine is considered according to a combination of sculptural and pictorial plans. At the same time, the key features of this image are “statuary” and artistic talent for creating a “mental picture”, which reflects the internal dynamics of the heroine's image and overcoming the initial predetermined plot. The inclusion in the plot of the story of a casually mentioned painting with Malek-Adel, the hero of the romantic French novel by M. Cotten, provokes the role-playing behavior of Turgenev's heroes and points to a traditional romantic love story with a tragic outcome.
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Wang, Huan. "The Peony Pavilion as a picture of sexual individuation". Psychoanalysis and Psychotherapy in China 4, nr 2 (17.12.2021): 151–69. http://dx.doi.org/10.33212/ppc.v4n2.2021.151.
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The Peony Pavilion is a story central to Chinese gender identity. It vividly portrays a story of the path of sexual individuation of a Chinese woman. In comparison to female images in Western stories, Chinese women are the active ones in their intimate relationships with men. They have been oppressed for many years because they are recognised as the subject of desire and as having reflexive aggression. However, with enough love, a girl dares to separate from her natal family, to fight against the patriarchal system, and to be herself. Identifying with the father’s aggression can facilitate her in this process.
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Fitria, Nora, Nyak Mutia Ismail i Cut Mulia Zuhra. "The Employment of Figurative Language in a Motion Picture Artwork". International Journal of Education, Language, and Religion 5, nr 2 (2.12.2023): 136. http://dx.doi.org/10.35308/ijelr.v5i2.7598.
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This study aimed at finding out the use of figurative language in an artwork, specifically movie called Toy Story 3. The method used in this study was descriptive qualitative which provided the necessary data analysis to gain the information needed from the movie. The data soure was movie entitled Toy Story 3 with xxxx minutes in length. In collecting data, the researcher used document analysis; later in daa analysis, the interactive analysis consisting of data reduction, data display, and dat verification was employed. Te result shows that there are three types of figurative language consisted in the movie: Metaphor, Simile, and Hyperbole. The metaphors were used to describe something by comparing it with other objects, Hyperbole ws employed iin order to make the language used in the film increase a child's imagination to infinity, and Simile usage enhances the sentences to spark the curiosity of the audience—merely children. Then, it was aso found that regarding the frequency, Metaphor occurs nine times and represents 60%, Hyperbole occurs five times and represents 33%, and Simile occurs one time and represents 7%. Iin conclusion, The movie Toy Story 3 used only a few figurative speeches because the target audience is children, hence simple forms of language uses are utilized.
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Tarihoran, Rezky Khoirina, i Muhammad Kiki Wardana. "Hegemonic Masculinity and Homosexuality in Contemporary Indonesian Motion Picture". International Journal Linguistics of Sumatra and Malay 2, nr 1 (31.12.2023): 1–6. http://dx.doi.org/10.32734/ijlsm.v2i1.14365.
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Homosexuality in Indonesia is examined in through its contemporary motion picture. The data for this study came from the motion picture named Arisan! released in 2003. This study incorporated Foucault's theory of sexuality as a social construction, Connell's Hegemonic Masculinity, and A,J Greimas’ Narrative Structuralism . Numerous findings can be found in the research, including the actantial model and functional model of the story in Arisan!. Additionally, this research discovered that homosexuality in Indonesia is subordinated.
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Stollberg-Rilinger, Barbara. "Maria Theresa and the Love of Her Subjects". Austrian History Yearbook 51 (24.03.2020): 1–12. http://dx.doi.org/10.1017/s0067237820000041.
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I have been asked to speak about the life of the Empress-Queen Maria Theresa. I would like to start by directing your attention to the cover pictures of three recent biographies (Figures 1‒3). If you look at these pictures you will find one astonishing commonality. I am sure that this is neither a coincidence, nor just a fad: on each of the three covers, you only see a part of the portrait. For me, this perfectly symbolizes a specific, skeptical view of biography writing. As a biographer, these cover pictures say, you never get the whole picture of a person. It's always up to the author not only to choose the material but also to establish a certain narrative structure. A life is not a story, and a biography does not simply tell itself. There is always more than one true life story of a person. As the Swiss historian Valentin Groebner recently put it: “The past is a big untidy cellar. It is a bit damp and dark and smells a bit strange there. We go down and get what we want.” What you choose and how you arrange it—which story you tell—depends on which perspective you take and in what you are interested.
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Yaxshiyeva, Zebo. "POETIC AND ARTISTIC INTERPRETATION OF THE STORY IN THE TETRALOGY". INTERNATIONAL JOURNAL OF WORD ART 1, nr 3 (30.01.2020): 178–85. http://dx.doi.org/10.26739/2181-9297-2020-1-25.
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In this article, the talented writer Muhammad Ali describes the psychological traits in the first part of the tetralogy "the Great reign" in the book Jahongir Mirzo. It explores the chronology of news, the principles of artistic conflict and the psychological picture, as well as how researchers from all over the world and Uzbekistan react. The wonderful pain and sadness surrounding the soul of the wonderful Jahongir Mirzo give a beautiful illustration of his great and infinite love.
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Radaviciute, Jurate. "Jurate Radaviciute, Devoid of (E)motion: Farah’s Story". Open Cultural Studies 2, nr 1 (1.12.2018): 790–96. http://dx.doi.org/10.1515/culture-2018-0072.
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Abstract This essay investigates the theme of emotionlessness in Salman Rushdie’s novel Shame; the research is carried out within the theoretical framework of postmodernism. In the novel, otherwise filled with strong emotions such as love, hate and shame, one character, Farah Zoroaster, can be singled out as a person characterised by a lack of emotion. The question raised in this research is about the place of emotionlessness in the narrative of the novel and the functions it performs. It is discovered that although Farah has a unique position in the novel, her story is intertwined with those of other migrant/ peripheral characters such as Bilquis Hyder, Eduardo Rodrigues and Omar Khayyam Shakil as opposed to the protagonists of the novel Iskander Harappa and Raza Hyder, who are local/central characters of the novel. However, alongside the narrative lines of her father and Eduardo Rodrigues, Farah Zoroaster’s story explores the topic of migration from a perspective of personal freedom and spirituality, which is different from other migrant narratives in the novel. The postmodern nature of the narrative plays with the reader by offering contrasting connotations of the freedom and spirituality attributed to the emotionlessness of Farah, such as narcissism and the absence of personal qualities.
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Zunidar, Zunidar. "Implications of the School Literacy Movement with Picture Storybook Media". EDUKATIF : JURNAL ILMU PENDIDIKAN 4, nr 2 (11.03.2022): 2679–87. http://dx.doi.org/10.31004/edukatif.v4i2.2575.
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Interest and reading power are latent problems that occur in students and educators. On this basis, a government policy was issued in Permendikbud Number 23 of 2015 concerning the School Literacy Movement (GLS). One of the mandatory efforts is reading 15 minutes of non-lesson books every day (story books or other books). This study aims to analyze the implications of the school literacy movement using picture story books as media. The type of this research is qualitative with literature study method. The research materials and analysis studies are obtained through scientific reference sources, including books, articles, proceedings, theses, theses, and dissertations. These scientific sources are obtained through credible sites, such as Google Scholar, DOAJ, and SINTA. The results of this study indicate that the activities of the school literacy movement through the media of picture story books have a significant impact on students' reading power and interest. This is in terms of increasing students' knowledge insight, motivation to read books in students, and forming active literacy characters in students. The GLS stages include 15 minutes of reading pre-learning picture story books, reading prayers, reading verses of the Koran in short suras, singing the national anthem, and strengthening the teacher for the previous meeting's teaching materials. Thus, students are increasingly moving to get used to and love the world of literacy
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Ahlawat, Rashmi. "Chetan Bhagat’s 2 States : A Study of Cultural Contradictions". IJOHMN (International Journal online of Humanities) 2, nr 6 (15.12.2016): 1–10. http://dx.doi.org/10.24113/ijohmn.v2i6.23.
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This paper deals with the culture issues in Chetan Bhagat 2 States – the story of my marriage. He is one of the most popular contemporary Indian novelists in Indian English Literature. He has represented young ,modern Indian youth and culture. Different characters and incidents portrayed in the novel gives us a vibrant picture about the different culture and tradition prevailing in India. Chetan Bhagat’s novel 2 States focusses on how a particular phenomenon, the notion of love and marriage related to the concept of culture and society with its customs. The novel 2 States deals with the cross-cultural encounters and deals with different experiences . A simple but realistic novel, brilliantly explores the encounter of 2 States, Punjab and TamilNadu. 2 States: The Story of My Marriage is partly an autobiographical novel. The story is about a couple, Krish and Ananya, who hail from two different states of India, Punjab and Tamil Nadu respectively, are deeply in love and want to get married. The novelist while talking about marriage also explores the social issues like dowry in traditional marriages and the shifting paradigms of matrimonial alliances in multicultural and multinational societies. Chetan Bhagat also expresses the cultural diversities.
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Lin, Rui Lin. "A Study of the Innovative Design of Picture Book Creation Using Mixed Media". Applied Mechanics and Materials 496-500 (styczeń 2014): 2683–86. http://dx.doi.org/10.4028/www.scientific.net/amm.496-500.2683.
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This study performed the creation using mixed media of innovative technology combining hand drawing and computer graphing, with the learning topic being the picture books from the basic design curriculum for the students from the Department of Commercial Design of a Technology University. The works were presented orally by the students and the results were exhibited. The works were evaluated by two teachers with specialties in design. The work with the best performance was Best Memory. The story was about how a girl had grown up. This book is suitable for parents to read with their children and educate their children using this opportunity. The images in the book are colorful and vivid, showing the family members love and best wishes for the newborn. This story can be used to teach children to care about and help newborns, making this book both entertaining and educational.
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Shail, Andrew. "The motion picture story magazine and the origins of popular British film culture". Film History: An International Journal 20, nr 2 (czerwiec 2008): 181–97. http://dx.doi.org/10.2979/fil.2008.20.2.181.
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Wang, Min, Qiao Gan i Julie Boland. "L2 Syntactic Alignment in the Reading-Writing Integrated Continuation Task: Evidence From Chinese EFL Learners’ Description of Motion Events". Chinese Journal of Applied Linguistics 44, nr 3 (1.09.2021): 292–313. http://dx.doi.org/10.1515/cjal-2021-0019.
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Abstract This study investigated how the mode in which the reading-writing integrated continuation task was conducted modulates the effects of second language (L2) syntactic alignment, through the English motion event construction with manner verbs. Ninety Chinese students were assigned to either of the two experimental groups or a control group, and they all experienced a pretest, an alignment phase and a posttest. In the alignment phase, the two experimental groups completed a reading-writing integrated continuation task but in different modes. For the multi-turn mode, participants reconstructed a picture story by continuing the episodes extracted from the story with one episode presented and continued at a time; for the single-turn mode, the first half of the same picture story was presented as a chunk, and then participants read and continued it. Results show that L2 learners aligned with the target structure in completing the story, and the alignment effect was retained in the posttest conducted after a delay of two weeks. Moreover, syntactic alignment was modulated by task mode with the multi-turn group exhibiting stronger immediate and longterm alignment effects. We conclude that the continuation task is a fruitful context for L2 structural alignment, and the magnitude of alignment effect hinges on interactive intensity.
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Wang, Min, Qiao Gan i Julie Boland. "L2 Syntactic Alignment in the Reading-Writing Integrated Continuation Task: Evidence From Chinese EFL Learners’ Description of Motion Events". Chinese Journal of Applied Linguistics 44, nr 3 (1.09.2021): 292–313. http://dx.doi.org/10.1515/cjal-2021-0019.
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Abstract This study investigated how the mode in which the reading-writing integrated continuation task was conducted modulates the effects of second language (L2) syntactic alignment, through the English motion event construction with manner verbs. Ninety Chinese students were assigned to either of the two experimental groups or a control group, and they all experienced a pretest, an alignment phase and a posttest. In the alignment phase, the two experimental groups completed a reading-writing integrated continuation task but in different modes. For the multi-turn mode, participants reconstructed a picture story by continuing the episodes extracted from the story with one episode presented and continued at a time; for the single-turn mode, the first half of the same picture story was presented as a chunk, and then participants read and continued it. Results show that L2 learners aligned with the target structure in completing the story, and the alignment effect was retained in the posttest conducted after a delay of two weeks. Moreover, syntactic alignment was modulated by task mode with the multi-turn group exhibiting stronger immediate and longterm alignment effects. We conclude that the continuation task is a fruitful context for L2 structural alignment, and the magnitude of alignment effect hinges on interactive intensity.
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Du, Xingjie. "James Phelan’s Three Judgments in George Eliot’s Middlemarch". Journal of Language Teaching and Research 12, nr 2 (1.03.2021): 258. http://dx.doi.org/10.17507/jltr.1202.06.
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George Eliot, well-known as one of greatest realists in the 19th century, weaves multiple narratives in her representative work Middlemarch, presenting vividly the realistic picture of society between 1829 and 1832. The narrative clue of love affair between Dorothea, Casaubon and Will Ladislaw permeates the whole story, which attracts the attention of numerous scholars with fruitful, inspirational studies. However, few numbers of scholars delve into the controversial issue of Casaubon’s “will” in the story to analyze the moral values and thoughts expressed by the implied author. Thus, the paper attempts to analyze the issue of “will” by borrowing the concept of three judgments proposed by James Phelan to figure out how the implied author expresses her interpretative, ethical and aesthetical judgements by means of her distinct narrative.
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Breitenbach, Zachary. "Insights of C. S. Lewis Concerning Faith, Doubt, Pride, Corrupted Love, and Dying to Oneself in Till We Have Faces". Perichoresis 20, nr 3 (19.05.2022): 21–31. http://dx.doi.org/10.2478/perc-2022-0015.
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Abstract In Till We Have Faces (TWHF), C. S. Lewis combines his passion for pagan mythology with his knack for communicating Christian truths via story, powerfully illustrating a number of theological and moral positions that are prominent in many of his other writings. This article examines two major themes in TWHF that are also emphasized heavily within Lewis’s prose: (1) maintaining faith (which is examined from various angles) in the face of various emotionally-driven temptations to doubt; and (2) recognizing that pride prevents us from knowing God and corrupts the love we have for others into a jealous hatred. The article uncovers a variety of ways that Lewis masterfully paints a picture via the characters and the story of TWHF that exemplifies religious and ethical insights within these two themes.
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Veyis, Fatih, i Sebile Alkyr. "Narratological Perspective on Death and Grief in Children's Literature: “The Ghost Postman” Example". Iasaýı ýnıversıtetіnіń habarshysy 121, nr 3 (30.09.2021): 80–91. http://dx.doi.org/10.47526/habarshy.v3i121.736.
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“The Ghost Postman” to be analyzed is a children's picture story book. The adventure of a child in the process of mourning in this book, in which he accepts death by using his imagination with the help of his mother, also carries a reference to sleep, which is the most important door that opens to the subconscious. While the story was being told, the pictures were also spoken. The subject of death, which is widely covered and general, is incomprehensible like other abstract concepts in the world of children. Losing and mourning a loved one causes mental trauma, even for adults, while the loss of a parent seems more difficult for a child to understand and accept. However, the child who looks at death from his own world, from the game window, accepts this fact more easily. Because he lives in a world with no borders, intertwined with dreams and reality, and he has decorated it with his dreams. In Ghost Postman, the child's exit from this mourning process is explained and made more evident with pictures. The theme of this story, written by Nurgul Atesh, is love, and it is intended to convey the message that people can overcome all difficulties with the power of love, overcome the difficulties encountered, and turn negativities into beauty by imagining.
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Howland, Jacob. "Partisanship and the Work of Philosophy in Plato's Timaeus". Review of Politics 69, nr 1 (22.01.2007): 1–27. http://dx.doi.org/10.1017/s0034670507000290.
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This article examines the political and philosophical problem of partisanship—the false inflation of a part into a semblance of a whole—in Plato's Timaeus. Timaeus's “likely story” about the cosmos both exemplifies and addresses this problem, which first comes to light in the dialogue's opening pages. Reflection on the problem of partisanship allows us to grasp Timaeus's understanding of the simultaneously erotic and thumotic work of philosophy, the work of making things whole. While Timaeus is moved by a Socratic love of wisdom, I argue that he implicitly corrects the picture of the erotic philosopher Socrates sets forth in the Republic.
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Higashi, Sumiko. "Adapting Middlebrow Taste to Sell Stars, Romance, and Consumption". Feminist Media Histories 3, nr 4 (2017): 126–61. http://dx.doi.org/10.1525/fmh.2017.3.4.126.
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Although it began as a local slapdash effort to advertise the independent exchanges in Chicago in 1911, Photoplay became the nation's leading movie fan magazine. At first it copied Motion Picture Story, founded earlier to publicize the films of the monopolistic Motion Picture Patents Company, in publishing literary storyized versions of film releases. Adapting the middlebrow conventions of its rival to overcome disrepute and near bankruptcy, Photoplay had already spotlighted the players in its early issues. Indeed, it established the format for publicity stories about iconic female personalities, especially those in exciting cliff-hanging serials who were idolized by lower-class female fans. It also published serialized romance fiction that featured daring, unconventional modern heroines. A magazine that stimulated readers without economic and cultural capital to daydream about glamour and buy fetishized goods, Photoplay constructed stardom as a basis of consumer capitalism.
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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood". Pacific Historical Review 80, nr 2 (1.05.2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.
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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.
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Khuong, Luu Quy, i Ly Ngoc Toan. "The Lexicalization Patterns of Manner Motion Events in Vietnamese". English Linguistics Research 7, nr 4 (21.11.2018): 1. http://dx.doi.org/10.5430/elr.v7n4p1.
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The purpose of this paper is to illustrate how Vietnamese students lexicalize or express in words the idea of motion. This study was conducted on the traditional foundation of Talmy’s (1985) lexicalization patterns. This theory involved in the way of people’s experience is rendered into languages via the semantic content of lexical items to express experiential categories. The data were derived from the analysis of the writings of fifty 12th- graders and fifty 6th- graders at Phu Rieng secondary school, Binh Phuoc province, Vietnam about the picture story “Frog where you” are by Mayer (2003). The results of the research provided insights into how Vietnamese speakers express the experience of motion in their language. These results suggest that there are considerable differences between Vietnamese and some other languages in the accounts of motion events.
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Melbye, David. "Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’". Short Film Studies 13, nr 1 (1.03.2023): 35–48. http://dx.doi.org/10.1386/sfs_00090_1.
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Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.
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Alexandrova-Osokina, O. N. "Motif “homecoming” in the Story of Tatyana Gladkikh “Bird of God”". Nauchnyy Dialog, nr 2 (28.02.2020): 195–208. http://dx.doi.org/10.24224/2227-1295-2020-2-195-208.
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The story “The Bird of God” (2018), the work of the Far Eastern writer Tatyana Innokentyevna Gladkikh (born 1952), is reviewed in the article. The scientific novelty of the study is that the prose of Gladkikh was not a subject of comprehension in literary criticism. The relevance of this work is due to the importance of studying regional (Far Eastern) literature, which is a necessary condition for the formation of an integral picture of the domestic historical and literary process. The article presents the results of the immanent analysis of the story; attention is paid to issues of the plot, value content, figuratively motivational nature; the typology of the hero is traced and the typological parallel between the image of the hero of the story and the hero of medieval life - Alexy, the man of God, is justified. It is revealed that the hero of the story embodies the “hagiographic” type of world attitude, which manifests itself in a sense of universality with all living things, love, compassion. Particular attention is paid to the “homecoming” motive, which is seen as central in the plot-storyline and value-semantic organization of the work, and also acts as the organizing principle in the motive complex of the story, combining the images of “wandering”, “house”, “memory”, “soul”. The article traces how the “homecoming” motive is realized at three levels of organization of the artistic structure of the text: storyline, subjective and existential.
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Farazila, Nurya. "Diksi, Gaya Bahasa, dan Citraan dalam Cerkak Pacarku Aneh Karya Lina Maisaroh (Kajian Stilistika)". Kaloka Jurnal Pendidikan Bahasa dan Sastra Daerah 3, nr 1 (22.04.2024): 53–63. http://dx.doi.org/10.26877/kaloka.v3i1.10828.
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This study discusses diction, language style, and imagery in a story entitled “Pacarku Aneh” by Lina Maisaroh. The theory used is a stylistic study. The purpose of this study is to: describe the diction, style, and imagery contained in the cerkak. The method used in this study is a qualitative descriptive method, with the analysis technique carried out as reading and understanding the contents of the ingenuity. The research data is in the form of a short text sourced from the kompasiana web published in 2021 with the theme of love. The data collection technique used is a reading and recording technique. Data analysis techniques use interactive descriptive techniques that include data reduction, data classification, and conclusion. The result of this study is in a story entitled My Strange Boyfriend by Lina Maisaroh using denotative diction, connotative diction, auditory imagery, visual imagery, motion imagery, allegory language style, and affirmative language style.
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Deiniatur, Much. "PEMBELAJARAN BAHASA PADA ANAK USIA DINI MELALUI CERITA BERGAMBAR". Elementary: Jurnal Ilmiah Pendidikan Dasar 3, nr 2 (31.12.2017): 190. http://dx.doi.org/10.32332/elementary.v3i2.882.
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Language Skill consists of four components of speaking, writing, listening and reading. The most important thing for children is speaking, because it provides enormous benefits, one of which so that children can interact with peers and others around them and add new knowledge.
Storytelling is a popular communication medium for children, training their ability to focus attention for some time on certain objects. Children are able to express themselves through a process that makes them happy and fosters a sense of satisfaction that makes them more confident. Tale or story telling is something human, that is, fairy tale or story using eye, hearing, motion, and touching heart.
The benefits of storytelling activities are: 1.) Storytelling can develop children's imagination, 2.) Increasing experience, 3.) Train concentration power, 4.) Increasing the vocabulary, 5.) Creating a familiar atmosphere, 6.) comprehending, 7.) Developing social feelings, 8.) Developing children's emotions, 9.) Practicing listening, 10.) Knowing positive and negative values. 11.) Adding knowledge
Keywords: language, early childhood, story, picture
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Heryadi, Dindin, i Ela Mutiara. "GANDRA PITALOKA: VISUALISASI KISAH CINTA DYAH PITALOKA DALAM KARYA TARI". Joged 15, nr 1 (2.12.2020): 20–35. http://dx.doi.org/10.24821/joged.v15i1.4660.
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Gandra Pitaloka merupakan visualisasi kisah cinta Dyah Pitaloka putri dari Kadipaten Pakuan dengan Prabu Hayam Wuruk raja dari Kerajaan Majapahit dalam kronologi peristiwa perang Bubat dalam karya tari. Gandra berarti wujud dan Pitaloka diambil dari nama tokoh sumber cerita yaitu Citra Resmi Dyah Pitaloka. Judul ini mengandung arti wujud Dyah Pitaloka. Karya tari ini terinspirasi secara auditif dari syair lagu Karembong Koneng yang menceritakan tentang peristiwa Perang Bubat antara kerajaan Majapahit dan Kadipaten Pakuan. Karya ini diwujudkan dalam bentuk koreografi kelompok dengan sembilan orang penari. Tipe penyajian yang digunakan yaitu tipe dramatik, serta disajikan dengan elemen pertunjukan wayang golek sebagai pengantar cerita. Gerak-gerak dasar tari Sunda seperti tumpang tali, lontang, dan capang, serta unsur dasar gerak silat di antaranya bandul, nangkis, dan nyabet digunakan sebagai pijakan dasar dalam proses pencarian gerak. Musik pengiring dalam bentuk instrumen musik elektrik atau MIDI (Musical Instrument Digital Interface) dengan menggunakan laras Salendro, Pelog, dan Madenda. ABSTRACT Gandra Pitaloka dance is a visualization of the love story of Dyah Pitaloka daughter of Kadipaten Pakuan with Hayam Wuruk king of Majapahit Kingdom in the chronology of Bubat war events. Gandra which means form and Pitaloka was taken from the name of the story source of the official image Citra Resmi Dyah Pitaloka. This title contains the meaning of Dyah Pitaloka's form. This dance work is inspired by audio from Karembong Koneng song lyrics. This poem tells about the events of the war Bubat between the kingdom of Majapahit and Kadipaten Pakuan. This work is manifested in the form of group choreography with the composition of nine dancers. The presentation type used is the dramatic type. Basic movements of Sundanese dance such as tumpang tali, lontang, and capang, and elementary motion of silat which is bandul, nangkis, and nyabet used as a foundation in the process of searching motion. This work is accompanied by music in the form of an electric musical instrument or MIDI (Musical Instrument Digital Interface) by using barrel Salendro, Pelog, and Madenda. And presented with elements of wayang golek show as an introduction to the story. The purpose of this choreography creation is to visualize the love story of Dyah Pitaloka with Hayam Wuruk through the development of basic movements of Sunda dance. The benefits of the creation of this work are to provide a creative process creation experience with the development of motion that departs from the basic movements of the dance of Sundanese and silat, as a form of appreciation of the character of a princess from Kadipaten Pakuan existing in West Java.
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Alekseeva, L. F. "Memory of love and death in N.V. Bolkunov’s novel “The road home”". Literature at School, nr 3, 2020 (2020): 44–52. http://dx.doi.org/10.31862/0130-3414-2020-3-44-52.
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The purpose of the article is to draw attention to the poetics of the artistic time and space in the story of the Great Patriotic War, written in the XXIst century. The author of “The Road Home” Nikolaj Bolkunov (1948–2010) did not see the war himself, but deeply understood its essence, emphasized the moral confrontation of the defenders of the Russian land and Nazi-fascist invaders destroying it, confident that they will succeed to break the ties between generations, to turn the subdued population into consumers of material goods, into those who are oblivious to their kin. Hermeneutical approach to the text (identification of the spiritual component) leads to identifying an issue, particularly significant for the author, the issue of succession, relationships between generations and mentalities, analysis of characters, adventurous and entertaining elements, love plotline, touching and tragic situations, landscape sketches, everyday and naturalistic details. Consistently revealed the roll call of military and post-war circumstances, determining the creation of a broad historical picture, the integrity of which is obtained due to the author’s closest proximity to lieutenant Minaev’s psychology, who became a few decades later an old man, Mikhalych. The piercingly tragic plot of chaste love illuminates the memory, the whole life of the main character, determines his inner setting to strengthen good, resilience in the protection of human dignity. Many episodes of the work paint the image of the enemy-destroyer, who deprived many people of our fatherland of shelter, bright youth, love, health, the very opportunity to live. The analysis of the text is combined with the involvement of biographical, literary materials. It is concluded that the story has an undoubted pedagogical potential and can be recommended for reading and studying by high school students, students of higher and further education institutions.
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MARGARYAN, SIRANUSH. "THE MYTHOLOGY OF SACRED MARRIAGE IN SEVERAL WORKS OF EUROPEAN LITERATURE AND IN H. TUMANIAN'S "AKHTAMAR" (an attempt of comparative analysis)". JOURNAL FOR ARMENIAN STUDIES 4, nr 63 (12.01.2024): 92–110. http://dx.doi.org/10.24234/journalforarmenianstudies.v4i63.74.
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In the article, we have considered several literary embodiments of the mythologeme ofsacred marriage, when it, retaining the memory of the pretext and symbolic system, undergoes various transformations in different periods and by different authors, absorbs peculiar and significant historical-philosophical, psychological, aesthetic and ethno-cultural nuances.
The legend of a young man in love swimming from shore to shore, derived from the mythologeme of the sacred marriage, the origins of which go back to the Ancient Greece, is a universal plot in the ancient mythology (the legend of Hero and Leander) with deep problems, the changes of which depend on the interaction of reality and poetry, man, nature and society, as well as on the typology of the work, the aesthetic concept and worldview of the author.
Our task is to show the process of interpenetration of the national and universal realities in literature and culturethrough the history of a couple in love, to present in what way the pretext, the same initial information point made inner reality of the mythologemeinexhaustible and capaciousin time and among different peoples, over time fillingits secret language and symbolic system with new features and meaning, as well as to show changes in author's individual picture of the world.
Its main function is conditioned by the content that characterizes the cosmic essence of love and sacrifice, which can “find room for” one or more symbolic storylines in an unsplit coresimultaneously. This is obvious from the content of the article.
In the considered works of Marlo, Schiller, Bryusov, which are based on this legend, we tried to show the differences in the thought and creative systems of the authors, the emotional and philosophical foundations of their individuality, the moral and ethical orientation of the legend. In Tumanyan’s “Akhtamar”ballad, the story about a young man swimming from shore to shore formed the composition, preserving in its initial part the folklore elements of the story of a young man in love swimming across the sea at night, and ending with a philosophical praise of love and sacrifice.
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Bay-Williams, Jennifer M. "Poetry in Motion: Using Shel Silverstein's Works to Engage Students in Mathematics". Mathematics Teaching in the Middle School 10, nr 8 (kwiecień 2005): 386–93. http://dx.doi.org/10.5951/mtms.10.8.0386.
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Through Brilliant, Clever Poems and prose, Shel Silverstein has worked his way into many classrooms and into the hearts of students and teachers. He wrote poems with an obvious knowledge that a child's mind is active and curious, and middle school students love reading and listening to his words. Imbedded in many of his poems and prose are opportunities to do mathematics in ways that will get students' minds “flickerin'.” Using a poem, picture book, or portions of a novel can raise the curiosity of middle school students and can increase their desire to solve mathematics problems. As students engage in solving literature-based mathematics lessons, they are applying mathematics in different contexts and making connections among mathematical ideas, which are expectations outlined in the Connections Standard in Principles and Standards for School Mathematics (NCTM 2000). In the following sections, four delightful Silverstein works prompted engaging mathematics explorations. Each selection focused on a different mathematical strand, although there is much integration of other concepts in the problems.
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Chen, Juelin. "Liberation or Discipline: Female Abolitionists' Interpretation of the Issue of Female Slaves". Communications in Humanities Research 28, nr 1 (19.04.2024): 295–300. http://dx.doi.org/10.54254/2753-7064/28/20230422.
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On the topic of "Whether the discussion of female slaves under the abolitionist movement is related to women's rights", this paper analyzes a short story about female slaves written by a well-known female abolitionist Lydia Maria Child during the abolitionist movement. The paper make an brief summary of the tale and analyze its purpose based on Lydias language and description to the tragedy, and since her phrasing of the sufferings brought by the slave status of the two female characters in the story is all based on the misfortunes of love, the lack of chastity and other plots, which are still in line with the traditional requirements of patriarchy for women, so a conclusion can be draw that the description and discussion of the suffering of female slaves at that time were still based on the patriarchal discipline of women. Since the abolitionist movement was closely followed by the women's suffrage movement, the study of feminism in the abolitionist movement can help to form a more comprehensive understanding of the development of women's rights and the abolitionist movement, which is of relatively important significance, and also gave us a fuller picture of the era.
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Janam, Dr Ram. "Social, Historical and Psychological Realism in Arundhati Roy’s The God of Small Things". SMART MOVES JOURNAL IJELLH 8, nr 5 (30.05.2020): 70. http://dx.doi.org/10.24113/ijellh.v8i5.10583.
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The God of Small Things depicts realistic picture of the current issues of the typical Indian society. Arundhati Roy has tried her best to cover almost all the details of social and historical setting so that the readers may be able to acquaint with the pattern of living, daily routine, rites, customs, rituals and habits. The book explores how the small things affect people's behaviour and their lives. During that time in India, class was a major issue and still is in many parts of India. Inferiority complex is clearly visible in the interactions between Untouchables and Touchables in Ayemenem. The novel also shows that The Untouchables were considered polluted beings. Betrayal is also a constant theme in this story. Love, ideals, and confidence are all forsaken, consciously and unconsciously, innocently and maliciously, and these deceptions affect all of the characters deeply.
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Wu, Hui. "Shakespeare in Chinese Cinema". Multicultural Shakespeare: Translation, Appropriation and Performance 10, nr 25 (31.12.2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Sharp, Michael D. "Remaking Medieval Heroism: Nationalism and Sexuality in Braveheart". Florilegium 15, nr 1 (styczeń 1998): 251–66. http://dx.doi.org/10.3138/flor.15.013.
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Mel Gibson's movie Braveheart tells the story of the life of William Wallace, one of Scodand's great national heroes. Originally released in the late spring of 1995, the film received predominandy glowing reviews, and later in the year enjoyed a second run in theatres as Paramount Studios began marketing the film for consideration in the many end-of-the-year awards shows. Early in 1996 Mel Gibson was honoured at the Golden Globe Awards as the year's Best Director, and in March of the same year, Braveheart won five Academy Awards, including another Best Director award for Gibson as well as the award for Best Motion Picture of the Year.
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Wall, Barbara, i Dong Myong Lee. "Stability in Variation: Visualizing the Actantial Core of The Journey to the West ",. Korean Studies 47, nr 1 (2023): 117–44. http://dx.doi.org/10.1353/ks.2023.a908620.
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Abstract: The urge to find the authentic original of a story seems to be a universal longing. Recently, narratologists like Barbara Herrnstein Smith, as well as experts for East Asian literatures like Michael Emmerich or Lena Henningsen, draw our attention away from the original—which is often unknowable—and instead towards the variants of a story. While this suggestion brings a breath of fresh air to the field of narrative studies, it also poses a fundamental problem. If a story does not necessarily exist as a static original, but is comprised of many variants, how should we then imagine the story itself? This paper proposes imagining the story not as a separate static unit, but rather as a story cloud that includes all variants and changes its form when new variants join, or old variants fall into oblivion. Just as it is much easier to take a picture of a static object than of a moving one, it is much easier to imagine a static text than a text in motion. The main aim of this paper is therefore to find ways to make story clouds more graspable through visualizations. Specifically, for this endeavor we will focus on one of the most popular story clouds in East Asia, The Journey to the West . Methodologically, we draw on the actant-relationship model that the computational folklorist Tim Tangherlini has developed in the article "Toward a Generative Model of Legend: Pizzas, Bridges, Vaccines, and Witches." We will apply Tangherlini's model to variants of The Journey to the West and use the data to visualize the story cloud, especially its actantial core.
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J.J, Dony Preethii, i Dr M. Meena Devi. "Man-Woman Relationship in Shobhaa De’s Second Thoughts". SMART MOVES JOURNAL IJELLH 9, nr 4 (28.04.2021): 150–59. http://dx.doi.org/10.24113/ijellh.v9i4.10994.
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Shobhaa De’s Second Thoughts is a realistic representation of the psyche of the traditional Indian men and women. The freedom of women is permitted in a very restricted manner in the Indian Society. This novel is the ancient story of sacrifice and adjustment that a woman is destined to. Maya, the protagonist, lives in loneliness and sadness. In Second thoughts, Maya learns to survive in the sultriness of not only Bombay, but also of her marriage life. She strikes up a friendship with Nikhil, her charming, college-going neighbor leading to love and betrayal. The way Shobhaa De narrates each and every aspect of human relationship in general and man-woman relationship in particular, is really wonderful. This paper aims to explain the emotional and psychological needs of Maya and also gives the picture of the modern urban woman who is subjugated and suppressed in the meaningless marriage.
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Ahmed, Akeel, Samina Yasmin i Iqra Iqbal. "Mélange of Humourism, Judaism and Hebraism in Philip Roth's ‘Goodbye, Columbus': An Analytical Study". Global Political Review VII, nr II (30.06.2022): 93–99. http://dx.doi.org/10.31703/gpr.2022(vii-ii).11.
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In the vanguard of rising Jewish ethnicity in America after World War II, Philip Roth penned a novella, 'Goodbye, Columbus'. This incandescently alive novella depicts the embedded flippancy and humor of the lower middle class and upper class. Neil Klugman, a librarian, hailed from Newark. On the other hand, Brenda Patimkin,a college student of an affluent family, lived in Short Hills. Neil, the protagonist and the narrator of the story, falls in love with Brenda.Roth, through the character of Neil, has mildly slated the relationship of Gentiles with other characters. A cursory perusal of the novella also surfaces what elements impelled the writer to show this side ofthe picture regarding the delineation of Jews' internal matters. In this study, we have argued about the novella in terms of its Hebraism and humouristic features; the study has also underpinned how Judaism is reflected in the novella.
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Pehlivan, Erman. "Wenders in Motion: A Study On The Way Of Characterization In Wim Wenders’ Road Movies". CINEJ Cinema Journal 2, nr 2 (4.06.2013): 82–109. http://dx.doi.org/10.5195/cinej.2013.63.
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Famous for his road movies, WimWenders, has a deeper understanding of the word; motion. More than often,Wenders tells the story of wanderers by putting them in a constant state oftravel. These travels alter thewanderers’ characters and play a key role in Wenders’ storytelling. This paperstudies Wim Wenders’ way of characterization in three parts. The first partstates out keywords to define Wim Wenders’ wanderers: movement/motion, thejourney, homesickness, spatial levels, the Ozu connection. And it mainlyfocuses on his road trilogy: Im Lauf der Zeit (1976), FalscheBewegung (1975), and Alice in den Städten (1974), whileexplaining the stated keywords. The second part only focuses on Paris, Texas(1984) and its main character Travis, who might be seen as the ultimatewanderer whom all other Wenders’ characters blend in to. Thethird and the final part takes Der Himmel Über Berlin (1987) as ‘avertical road movie’ hoping for finding a cure for the worldwide homesicknessthat all the Wenders’ wanderers suffer. Also there are a handful of musicreferences hidden through the paper in homage to director’s love for rock ‘n’roll music.
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Protopopova, K. O. "THE CONCEPT OF «HAPPINESS» IN THE ARTISTIC SURVEY BY B. ANTONENKO-DAVYDOVYCH". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, nr 1(94) (7.07.2021): 36–48. http://dx.doi.org/10.35433/philology.1(94).2021.36-48.
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The article is devoted to elucidating the specifics of reflecting the peculiarities of the functioning of the concept of «happiness» in B. Antonenko-Davydovych’s prose with emphasis on its evolution. The creation of each writer provides an opportunity to reproduce his unique picture of the world, the components of which are concepts, their selection and generalization contributes to a more complete and objective understanding of the artist’s creation. The concepts are a kind of artistic embodiment of the writer’s worldview, the result of the interaction of individual and creative skills with the environment and temporal realities. B. Antonenko-Davydovych’s creation concentrates the personal experience of the writer, testifies to the uniqueness of his worldview, reveals the cultural and life experience, reflects his reception of the world.
The concept of «happiness» is presented with different connotations in all periods of the writer’s work. The understanding of happiness by the characters in B. Antonenko-Davydovych’s works is evolving. Initially, the feeling of happiness correlates with memories of childhood, love for a woman, «related» work, gradually transforming into an adult conscious feeling of mutual love. The works of the writer testify to the gradual realization of true happiness. The story «Happiness» is significant for understanding the specifics of the functioning of the concept of «happiness» in the B. Antonenko-Davydovych’s creation. This is one of the last works of the writer, that was written at a fairly mature age, so the concept of «happiness» is presented here most fully, representing all its components, which in early work were outlined only in dotted lines. The work is supreme for understanding the concept of «happiness» by the writer. From the height of years and his life experience B. Antonenko-Davydovych proves that eternal ideals – love for a woman and love for people give a person a true feeling of happiness.
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Ananeva, S. V. "RUSSIAN PROSE OF KAZAKHSTAN: EURASIANITY AND DIALOGUE OF CULTURES". EurasianUnionScientists 7, nr 5(74) (14.06.2020): 6–9. http://dx.doi.org/10.31618/esu.2413-9335.2020.7.74.773.
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The poetry of the large genre form –the story and the novel includes «openness» as a fundamental opportunity that is endowed with the author and the reader. The poetics of works «in motion» creates a new mechanism of aesthetic perception, expanding the national picture of the writer's world. The concept as a focus of knowledge about the world expands the boundaries of the study of prose by I. Schegolikhin, T. Frolovskaya and K. Keshin. The concepts of the Motherland, memory, oblivion in the literary texts of Russian writers of Kazakhstan are extremely important. A literary work enters into complex non-textual relations with the surrounding reality, expanding the spiritual horizon of society, while preserving traditions and continuity
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Herbert, Stephen. "The man who stopped time: The illuminating story of Eadweard Muybridge – Pioneer photographer, father of the motion picture, murderer". Early Popular Visual Culture 7, nr 1 (kwiecień 2009): 106–8. http://dx.doi.org/10.1080/17460650902775450.
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Sapchenko, L. A. "UNPUBLISHED LETTER N.M. KARAMZIN TО E.A. PROTASOVA (BORN BUNINA)". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, nr 79(1) (2021): 141–45. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-141-145.
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Currently, with the financial support of the RFBR, the project "Karamzin and his entourage" is being implemented for the first time - a consolidated collection of personal information about contemporaries with whom N.M. Karamzin communicated throughout his life. The creation of such a reference book is necessary to restore the real picture of N.M. Karamzin, to compile the chronicle of his life and work. The richest source of the necessary data is the epistolary N.M. Karamzin, which makes it possible to expand, clarify, and detail also information about those who directly communicated with the historiographer or corresponded with him. Many of the letters from Karamzin have not yet been published. The lines from the letter of N.M. Karamzin is an addition to the love story of V.A. Zhukovsky to Maria Andreevna Protasova. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of the scientific project No. 19-012-00292 A “N.М. Karamzin and his entourage".
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Maftuhah. "Analisis Unsur Religius Pada Novel “Dalam Mihrab Cinta” Karya Habiburrahman El - Shirazy". Jurnal Pendidikan Islam 4, nr 2 (24.09.2019): 3–76. http://dx.doi.org/10.37286/ojs.v4i2.21.
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Abstract:
This study aims to describe the religious element contained in the novel
“Dalam Mihrab Cinta”. This study used a qualitative description of the research.
Qualitative research is used to obtain a picture empirical about religiosity in the
novel “Dalam Mihra
b Cinta” Habiburrahman El
-
Shirazy work. This study uses a
structural approach and pragmatic approach, this analysis can be seen from the
aspect of religion (aqidah, sharia, morals, and jurisprudence) and researchers
trying to find the values contained in t
he novel “Dalam Mihrab Cinta”. Results
from this study are able to analyze the elements of religious values
(aqidah,sharia, and morals) and aimed to introduce the science of jurisprudence
that stirs the soul trough a love story that is so unique and intere
sting to the
reader in the novel “Dalam Mihrab Cinta” Habiburrahman El
-
Shirazy work.
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SMEETS, D. J. H., i A. G. BUS. "The interactive animated e-book as a word learning device for kindergartners". Applied Psycholinguistics 36, nr 4 (17.01.2014): 899–920. http://dx.doi.org/10.1017/s0142716413000556.
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ABSTRACTElectronic picture storybooks often include motion pictures, sounds, and background music instead of static pictures, and hotspots that label/define words when clicked on. The current study was designed to examine whether these additional elements aid word learning and story comprehension and whether effects accumulate making the animated e-book that also includes hotspots the most promising device. A sample group of 136 4- and 5-year-old kindergarten children were randomly assigned to one of four conditions: static e-books, animated e-books, interactive animated e-books, and a control group. In experimental conditions, four on-screen stories were each presented four times during a 4-week intervention period. Children in the control condition played nonliteracy related computer games during the same time. In all conditions, children worked independently with the computer programs. Strong treatment effects were found on target vocabulary originating from the story. Pupils gained most in vocabulary after reading interactive animated e-books, followed by (noninteractive) animated e-books and then static e-books. E-books including animations and interactivity were neither beneficial nor detrimental for story comprehension. Findings suggest that electronic storybooks are valuable additions in support of the classroom curriculum with interactive animated e-books being the best alternative.
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Scott, Jamie S. "Postcolonial Islam in My Son the Fanatic: From Deobandi Revivalism to the Secular Transposition of the Sufi Imaginary". Humanities 10, nr 1 (23.12.2020): 1. http://dx.doi.org/10.3390/h10010001.
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Set in the early 1990s, Hanif Kureishi’s short story “My Son the Fanatic” (1997) dramatizes tensions between Parvez, a lapsed Pakistani Muslim migrant to postcolonial England, and his son Ali, who rejects the western secularity of his father and reverts to a strict form of fundamentalist Islam. If these tensions remain unresolved in the story, Kureishi’s film adaptation elaborates them. In so doing, though, My Son the Fanatic (dir. Udayan Prasad 1997) presents a very different picture. Renamed Farid, the film’s eponymous youth breaks off engagement to the daughter of the local chief of police and challenges his father: “Can you put keema [minced meat] with strawberries?” Metaphorically, this question articulates the deeper concern underlying the story: How might migrants in diaspora live an authentic Muslim life in the secular environment of the predominantly non-Muslim United Kingdom? A close reading of My Son the Fanatic reveals vying answers. Farid and Parvez both invoke the Qur’an, ultimate arbiter of value, meaning and truth in Islam, but thence their paths diverge widely. On the one hand, the film depicts the revivalist maslak of Deobandi Islam, though such missionary fervour may lead all too easily to the violent militancy of Farid and his cohort. On the other hand, My Son the Fanatic suggests conditions of possibility for a Muslim life of sacralised secularity by developing the love between Parvez and Sandra in terms of tropes and themes transposed from the Sufi imaginary to the postcolonial United Kingdom, most notably an ethos of iḥsān, that is, the cultivation of what is beautiful and good.
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Andrejević, Ana, i Snežana Zečević. "Intertextuality in The Two Noble Kinsmen". Zbornik radova Filozofskog fakulteta u Pristini 53, nr 1 (2023): 73–92. http://dx.doi.org/10.5937/zrffp53-42351.
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The central plot of Fletcher and Shakespeare's play The Two Noble Kinsmen derives from Chaucer's The Knight's Tale, so it could be interpreted through the theory of intertextuality and transtextuality. The prototext of these literary works is identical, but it has been modified over the centuries. It has changed from a mythological story into a universal symbol of love, friendship, authority, honor, and death. Apart from the permutation of texts by different authors, The Two Noble Kinsmen is also a curious collection of Shakespeare's earlier works, despite the frequent contestation of his contribution to this play. Such self-citation is an interesting phenomenon, especially if we consider the fact that this play is Shakespeare's last work and not The Tempest, as traditionally stated in literary histories. Therefore, this paper aims to determine the similarities and differences between Chaucer's famous story and Fletcher and Shakespeare's play, to point out the degree of intertextuality in it, and to highlight the original dramatic episodes and characters, their function, meaning, and significance. With the assumption that Fletcher and Shakespeare intentionally and purposefully chose the mode of adaptation and transformation of the famous Chaucer's text, the obtained results indicate that certain elements were modified due to the requirements of the dramatic form and its theatrical function, but also for commercial and socio-political reasons. The transposition of the well-known ancient story into Renaissance England, with new episodes and characters in the subplot, offers a different and somewhat subversive picture of conventional social norms and relations.
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Zuhair, Mayada, Noor Abdulsahib i Ansam Yaroub. "The Role of Picture Books in Raising Children's Understanding of English Literature and Life Science Concepts: Selected Stories by Eric Carle". Journal of Education College Wasit University 1, nr 46 (12.02.2022): 621–48. http://dx.doi.org/10.31185/eduj.vol1.iss46.2792.
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Abstract
The current study is a theoretical study that aims to underline the role of picture books as a serious genre of children's literature in raising children's understanding of English literature and life concepts; especially for non-English speakers. Unfortunately, most Iraqi people have developed a social phobia of learning English since childhood. This phobia is resulted from the heavy traditional reading and writing assignments as well as hard exams. Therefore, this study suggests incorporating more interesting literary material like picture books that would bring pleasure and help in raising children's love and cognition of English Language. More significantly, it calls to replace the old curriculum with a more vital one where children can interact with all their senses; visual, auditory, and kinesthetic (VAK). To make this possible, two of Eric Carle's books The Very Hungry Caterpillar and The Tiny Seed have been carefully selected according to the American and English elementary school teachers' standards for children aged 3-6 years old. Each story element was submitted to a literary analysis, including pictures, life concepts, and language that enhance children's understanding of literature. Based on Piaget's view about the importance of involving sensorimotor actions in learning to help in children's cognition development, some VAK lesson plans and activities were designed using the concept development model and Synectics strategy. The study has concluded that incorporating picture books into the school curriculum and sensorimotor activities like coloring, cutting paper, games, sounds, and music would help in raising children's understanding of English literature and life science more interactively.
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Fauser, Annegret. "Sounding the Tricolore: France and the United States during World War ii". Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, nr 1-2 (25.04.2017): 9–21. http://dx.doi.org/10.7202/1039609ar.
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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.
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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)". Aspects of Historical Musicology 17, nr 17 (15.09.2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.
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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».
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Nepiypov, Vladyslav V. "HYPERREALISM IN DIGITAL CINEMA (BASED ON THE ANALYSIS OF LOVE, DEATH & ROBOTS ANTHOLOGY SERIES)". Art and Science of Television 17, nr 3 (2021): 73–94. http://dx.doi.org/10.30628/1994-9529-2021-17.3-73-94.
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The article is devoted to the aesthetic features of digital cinematography. Due to the widespread use of computer graphics in films, traditional methods of analyzing cinema are no longer enough. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the nature of film. Digital cinema, based on contemporary technologies, no longer builds on the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen. Objects created with the help of computer graphics can transform and go beyond the simulated real objects, while remaining photorealistic, unable to exist outside the framework of the screen and the particular film. Using classical film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christian Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malthe Hagener, the author analyzes the process of transition of digital objects from photorealistic to hyperrealistic ones, which today can be identified as real, while not existing in reality. This phenomenon is of undoubted interest for the academic study of new forms of realism in digital cinema. Based on the analysis of the Snow in the Desert episode from the Love, Death & Robots anthology series, the author traces the development of hyperrealism in digital cinema. Through state-of-the-art digital filmmaking technologies combining both graphic and photographic techniques—motion capture, digital cloning of actors, real-time fluid and environment modelling—we have a new kind of cinematography that is not limited to classical methods of filmmaking, but goes beyond cinema itself, merging with animation and video games. All these processes affect the film aesthetics and make it more malleable, free and less restricted by the classical understanding of motion picture.