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Artigos de revistas sobre o assunto "HAL (Fictitious character)"
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Iskandar, Iskandar. "Metafora dalam Kartun Bertema Korupsi Karya G.M. Sudharta". INVENSI 3, n.º 1 (18 de julho de 2018): 15–22. http://dx.doi.org/10.24821/invensi.v3i1.2103.
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Kartun merupakan salah satu bentuk dialektika tanda dalam kategori bahasa verbal
dan nonverbal, yang membuat dirinya unik adalah karena karakternya yang
menyimpang, lucu, bersifat satir atau menyindir, baik terhadap orang atau
tindakannya. Sebagai salah satu bahasa politik, kartun telah menjadi instrumen
pokok untuk menceritakan realitas, segala tindakan dalam kartun merupakan studi
tentang tanda. Penelitian ini bertujuan untuk mengetahui metafora yang digunakan
dalam kartun bertema korupsi. Metodologi penelitian yang digunakan adalah
metodologi kualitatif, dengan pendekatan deskriptif, yaitu dimana data yang
dikumpulkan adalah karya visual kartun G.M. Sudharta yang dibuat tahun 2012
untuk koran Kompas, dan yang dipublikasikan pada media sosial Facebook-nya.
Hasil penelitian ini menunjukkan bahwa terdapatnya metafora yang sangat dominan
dan beragam dalam kartun bertema korupsi yang menandakan terdapatnya proses
yang kritis dalam memandang budaya komunikasi. Setiap kartunis menciptakan
tokoh kartun fiktif sebagai identitas yang mewakili dirinya untuk menyampaikan
opini, kritik, dan olok-olok terhadap sesuatu yang sedang berlaku dalam realitas
sehari-hari. Selain itu, setiap kartunis memiliki keunikan dalam menyampaikan
pesan, hal tersebut merupakan gaya yang dipengaruhi oleh latar belakangnya
masing-masing.
Cartoon is a form of dialectic sign in the category of verbal and nonverbal
language, which makes it unique is that deviant character, humorous, satirical or
sarcatic, either against the person or his actions. As one of the political languages,
cartoons have become a staple instrument to communicate the reality, every action
in cartoon are the study of signs. This study aims to determine the metaphor used in
cartoons with the theme of corruption. The research methodology used is qualitative
methodology, with descriptive approach, that is where the data collected is a visual
work of cartoon G.M. Sudarta made in 2012 for Kompas newspaper, and published
on social media Facebook. The results of this study indicate that there is a very
dominant and varied metaphor in a corruption-themed cartoon that signifies the
existence of a critical process in viewing the culture of communication. Each
cartoonist creates a fictitious cartoon character as an identity representing
him/herself to convey opinions, criticisms, and banter towards something that is
prevailing in the everyday reality. In addition, each cartoonist is unique in
conveying the message, it is a style influenced by their background.
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Maspoch-Bueno, Santiago. "Don Quijote, novelista constructor de personajes". Cervantes 15, n.º 1 (março de 1995): 142–46. http://dx.doi.org/10.3138/cervantes.15.1.142.
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In Don Quixote the task of character constructon, properly the narrator's, is to a large extent usurped by the protagonist himself. He appears to rebel against the novelist and the multitude of fictitious authors and creates his own world, conferring names (Don Quixote, Dulcinea, Rocinante) and status (knight, lady, steed) on the characters, and even changing the ones they originally had. Hence, one can conceive the novel as a constant tension between author and protagonist, in which the former repeatedly punishes the latter (deceptions, beatings, final defeat) for refusing to accept the world he had initially proposed to him.In Don Quixote the task of character constructon, properly the narrator's, is to a large extent usurped by the protagonist himself. He appears to rebel against the novelist and the multitude of fictitious authors and creates his own world, conferring names (Don Quixote, Dulcinea, Rocinante) and status (knight, lady, steed) on the characters, and even changing the ones they originally had. Hence, one can conceive the novel as a constant tension between author and protagonist, in which the former repeatedly punishes the latter (deceptions, beatings, final defeat) for refusing to accept the world he had initially proposed to him.
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Byrd, Mark. "The Effects of Previously Acquired Knowledge on Memory for Textual Information". International Journal of Aging and Human Development 24, n.º 3 (abril de 1987): 231–40. http://dx.doi.org/10.2190/twue-rqjd-pepw-7v2b.
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The present experiment was designed to examine how the semantic memory store of previously acquired knowledge affects the ability of young and old adults to retain textual information. The participants were presented with a series of biographical passages and were told they concerned either a famous historical character or a fictitious character. In an immediate recognition test, both young and old adults were able to discriminate between test and distractor sentences. However, in the delayed recognition condition, older adults had considerable difficulty in differentiating between target and distractor sentences, particularly in the famous character story condition. It was thought that as the older adults' episodic memory for the story deteriorated, they were unable to discriminate successfully between their store of previously acquired knowledge and the recently learned textual information.
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Aguilera Sustaita, Christian Ariel. "“Our Message Can Be Summarized with These Words: Britain First”: A Multimodal Critical Discourse Analysis of the Speech of Oswald Mosley’s character from the Peaky Blinders Series". Open Journal for Studies in Linguistics 5, n.º 1 (14 de agosto de 2022): 11–22. http://dx.doi.org/10.32591/coas.ojsl.0501.02011a.
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Fascism is a radical and polemic political movement that had its origin in Italy after World War I. Thereupon, different versions of this ideology emerged in several European countries such as England, where Oswald Mosley was its precursor and the founder of the British Union of Fascists. Through his powerful speeches, he achieved to persuade the English elite to help him position himself as a leader and establish fascism in Britain. This article addresses a fictitious interpretation of Oswald Mosley giving a political speech in the middle of a sophisticated party. The main intention of this work is to explore the mechanisms of persuasion employed by the fictitious version of Mosley to address his audiences and convince them to accept his message. Some findings reveal that the use of polite expressions as well as remarkable confidence in his speech, helped Mosley gain the sympathy of his listeners.
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SOWARD, A. M., e P. H. ROBERTS. "The hybrid Euler–Lagrange procedure using an extension of Moffatt's method". Journal of Fluid Mechanics 661 (2 de agosto de 2010): 45–72. http://dx.doi.org/10.1017/s0022112010002867.
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The hybrid Euler–Lagrange (HEL) description of fluid mechanics, pioneered largely by Andrews & McIntyre (J. Fluid Mech., vol. 89, 1978, pp. 609–646), has had to face the fact, in common with all Lagrangian descriptions of fluid motion, that the variables used do not describe conditions at the coordinate x, upon which they depend, but conditions elsewhere at some displaced position xL(x, t) = x + ξ(x, t), generally dependent on time t. To address this issue, we employ ‘Lie dragging’ techniques of general tensor calculus to extend a method introduced by Moffatt (J. Fluid Mech., vol. 166, 1986, pp. 359–378) in the fluid dynamic context, whereby the point x is dragged to xL(x, t) by a ‘fictitious steady flow’ η*(x, t) in a unit of ‘fictitious time’. Whereas ξ(x, t) is a Lagrangian concept intimately linked to the location xL(x, t), the ‘dragging velocity’ η*(x, t) has an essentially Eulerian character, because it describes the fictitious velocity at x itself. For the case of constant-density fluids, we show, using solenoidal η*(x, t) instead of solenoidal ξ(x, t), how the HEL theory can be cast into Eulerian form. A useful aspect of this Eulerian development is that the mean flow itself remains solenoidal, a feature that traditional HEL theories lack. Our method realizes the objective sought by Holm (Physica D, vol. 170, 2002, pp. 253–286) in his derivation of the Navier–Stokes–α equation, which is the basis of one of the methods currently employed to represent the sub-grid scales in large-eddy simulations. His derivation, based on expansion to second order in ξ, contained an error which, when corrected, implied a violation of Kelvin's theorem on the constancy of circulation in inviscid incompressible fluid. We show that this is rectified when the expansion is in η* rather than ξ, Kelvin's theorem then being satisfied to all orders for which the expansion converges. We discuss the implications of our approach using η* for the Navier–Stokes–α theory.
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Zakharova, Dina V., e Lyudmila M. Bondareva. "Semantic Peculiarities of Quasi-Anthroponyms in the Texts of English-Language Fantasy Video Games". Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, n.º 1 (1 de março de 2024): 47–55. http://dx.doi.org/10.37482/2687-1505-v320.
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The article presents an analysis of the semantic parameters of quasi-anthroponyms utilized in English-language accompanying texts for fantasy computer games. As a first step, we developed an approach to clarify the term quasi-anthroponym, which had been subject to various interpretations in scholarly publications. Quasi-anthroponyms are defined here as names of animated fictional objects that function as characters within the virtual worlds of video games. Taking into account the correlation between real and fictional elements, fantasy characters are categorized based on the degree of their fictionality. Quasi-anthroponyms naming characters of highly fictional game universes are classified into three major groups according to their semantic potential. The primary semantic parameters underlying this classification include indications of the character’s appearance, specific characteristics and combinations of certain features, such as the character’s functions in the game universe. The significance of this research lies in expanding the field of anthroponymic studies by incorporating relevant language material from virtual game discourse. Moreover, the practical implications are demonstrated through the potential use of these findings in lectures and seminars on contemporary English lexicology and stylistics, as well as in the analysis of texts of fantasy video games in language teaching. This aligns with the growing trend towards gamification of modern educational practices. Ultimately, this study establishes substantive criteria underlying the creation of English-language names for fictitious characters in the realm of fantasy video games. In addition, inventorization, systematization and classification of these linguistic units were conducted.
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Ponce Cordero, Roberto. "El mito del caníbal, mímesis y crítica social en Como era gostoso o meu francês (1971)". Catedral Tomada. Revista de crítica literaria latinoamericana 5, n.º 9 (5 de janeiro de 2018): 169–84. http://dx.doi.org/10.5195/ct/2017.264.
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Como era gostoso o meu francés is a 1971 Brazilian film. Directed by Nelson Pereira dos Santos, it adapts chronicles by old explorers from the 16th century who were imprisoned by native peoples of what is now Brazil. Thus, it deals with topics such as cannibalism, the attraction that the “savage” life had on the “civilized” subject, and the performative character of sacrificial rituals. In this article, we start by looking at the differences between the historical (and proto-historical) sources inspiring this film. We maintain that these differences, and the conscious decision to change certain aspects of the narratives on which the movie is based, show that he did not intend to portray an otherwise fictitious past (cannibalism in the Americas). Rather, these differences turn this film into a political satire directed at 1971 Brazil, as well as into a comment on colonial difference and on the strategies employed by the colonized in order to mock the colonizer by performing his worst fears about the Other.
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Bock, Carol A. "AUTHORSHIP, THE BRONTËS, AND FRASER’S MAGAZINE: “COMING FORWARD” AS AN AUTHOR IN EARLY VICTORIAN ENGLAND". Victorian Literature and Culture 29, n.º 2 (setembro de 2001): 241–66. http://dx.doi.org/10.1017/s1060150301002017.
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UNDER THE DIRECTION OF ITS FIRST EDITOR, William Maginn, Fraser’s Magazine purveyed popular images of literary life in the 1830s through its Gallery of Illustrious Literary Characters — Daniel Maclise’s engravings of contemporary literary figures accompanied by Maginn’s irreverent textual commentary — and through humorous depictions of the supposed staff meetings of “The Fraserians” themselves (figure 1), whom Miriam Thrall described as “care-free scholars, who laughed so heartily, and drank so deeply, and wrote so vehemently around their famous editorial table” (16). Composed by Maginn in imitation of Blackwood’s wildly successful Noctes Ambrosianae, which he had helped to write prior to the founding of Fraser’s in 1830, these imaginary meetings of London literati present a comic conception of authorship as a clubby activity, rebelliously bohemian and exclusively male. Patrick Leary’s 1994 essay on the actual management of Fraser’s as a literary business demonstrates just how inaccurate these highly fictitious accounts were and thereby contributes significantly to our understanding of the history of authorship in the 1830s. But if we are examining the influence Fraser’s had on its contemporary readers, then the facts of literary life which Leary discovers “beyond the imagery” of the magazine may be less important than the fictions which such representations of authorship communicated (107).
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Papathanasiou, Chrysovalantis, e Themis Apostolidis. "The ‘how’ of HIV infection matters: social judgments and responsibility attribution in the context of the AIDS epidemic". Sociology International Journal 6, n.º 4 (9 de agosto de 2022): 220–25. http://dx.doi.org/10.15406/sij.2022.06.00289.
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eople living with HIV are frequently blamed for their health condition, especially in case they became infected with the virus through behaviour that is considered as non-normative. The aim of the current study was to explore the impact of HIV representations and prevailing social norms on judgments about people living with HIV. The study had a quasi-experimental design and was conducted on a sample of 240 university students, completing their pedagogical studies degree. The participants were asked to read a vignette depicting a fictitious character that was infected by HIV through different modes of transmission (heterosexual contact, homosexual contact, IV drug use, blood transfusion) and make their judgments. The results indicated that judgments were influenced by respondents’ representations about the disease (contagious vs. infectious) and the social status of the HIV-positive person (deviant vs. non-deviant). Specifically, the participants who adopted a contagionist approach on HIV tended to hold more negative attitudes towards people living with HIV than those who perceived HIV as a transmissible disease. Furthermore, the participants appeared to be more judgmental towards persons who got infected through IV drug use or homosexual contact (norm-violating behaviours), than those who got infected through heterosexual contact or blood transfusion (normative behaviours). Overall, the results support the experimental hypothesis that responsibility attribution is based on the social desirability of the behaviours that were associated with the disease.
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Ziółkowska, Patrycja. "Letters from Russia: impact of imaginary contact, epistolary contact, and narrative on intergroup attitudes of adolescents". Educational Psychology 64, n.º 21 (31 de outubro de 2021): 20–37. http://dx.doi.org/10.5604/01.3001.0015.6903.
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Introduction: Prejudices might negatively influence the well-being of people they concern and often lead to discrimination. Hence, it’s important to search for effective ways to improve intergroup attitudes and implement them during education. One of the most effective known methods is intergroup contact. However, as it’s not always possible to implement, it’s important to search for more accessible methods. The article proposes a new form of reducing prejudices, i.e. a letter of contact with fictitious outgroup members. In such interaction, people receive a letter and are asked for a reply. The method is based on two concepts of improving attitudes: imaginary contact and narrative about positive intergroup interaction. Its effectiveness in improving attitudes was experimentally tested and compared to a typical imaginary contact task. Method: Participants were 179 high school students. They were divided into three experimental conditions: replying to a letter from an outgroup member; replying to a similar letter from an ingroup member; imagining interaction with an ingroup member. After the manipulation, participants completed an intergroup attitudes questionnaire. Results: What had an impact on intergroup attitudes was the perceived pleasure of the task, while the type of manipulation had no effects. Conclusions: Results suggest that in manipulations based on imaginary contact or narration, responses are probably influenced not by imaging interaction with an outgroup member, but by the positive character of the task, which probably has an impact on attitudes by priming a good mood. This calls into question the effectiveness of methods of imaginary contact and narrative about the contact. They probably temporarily affect mood but have no influence on prejudice.
Teses / dissertações sobre o assunto "HAL (Fictitious character)"
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Salus, Victoria Paula 1970. ""Her rare chastitee" : Belphoebe's representation in The faerie queene". Monash University, English Dept, 2001. http://arrow.monash.edu.au/hdl/1959.1/9100.
Texto completo da fonteLivros sobre o assunto "HAL (Fictitious character)"
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Disher, Garry. Blood moon. Melbourne: The Text Publishing Company, 2009.
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Disher, Garry. Blood moon. New York: Soho Press, 2009.
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Disher, Garry. Whispering death. New York: Soho Crime, 2012.
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Disher, Garry. Snapshot. New York: Soho Crime, 2006.
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Disher, Garry. Snapshot. New York: Soho Crime, 2006.
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Disher, Garry. Chain of evidence. New York: Soho Press, 2007.
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Disher, Garry. Snapshot. Waterville, Me: Wheeler Pub., 2007.
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Disher, Garry. Kittyhawk Down. New York: Soho Press, 2006.
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Disher, Garry. De snelwegmoorden. Aartselaar: Orega, 2002.
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Disher, Garry. The dragon man. New York: Soho Press, 2004.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "HAL (Fictitious character)"
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Agostinho, Shirley. "Using Characters in Online Simulated Environments to Guide Authentic Tasks". In Authentic Learning Environments in Higher Education, 88–95. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-594-8.ch007.
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The use of characters to present tasks and critical information in a simulated environment has proven to be a useful strategy in the creation of more authentic learning environments online. Such characters can not only perform the role of setting and structuring tasks within the fictitious scenario, but also that of providing useful and realistic guidance. This chapter describes a learning environment designed to create an authentic context for learning evaluation skills and strategies appropriate to technology-based learning settings. The subject in which this approach was adopted was a masters-level course in evaluation of technology-based learning environments. The chapter focuses on the use of a fictitious CEO (chief executive officer) who requests certain evaluation tasks of “employees.” Students are given realistic jobs with realistic parameters, and in this way the subject is dealt with in a much more authentic manner than if presented in a more decontextualised way. The rationale for adopting the approach is described together with a description of how it was implemented and summary findings of an evaluation of the approach.
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Frolova-Walker, Marina, e Jonathan Walker. "The Phantom Program". In Shostakovich's Symphony No. 5, 55–79. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197566329.003.0003.
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Abstract Chapter 3 delves into the narrative that contemporaneous critics perceived in the Fifth Symphony, even though Shostakovich had offered no program. The context for this narrative is a rich tradition of literary and musical works that illustrate the difficulties the Russian intelligentsia faced in adjusting to the Soviet state. One particular literary prototype explored here is the fictitious symphony composed by “Nikita Karev,” a character in Konstantin Fedin’s novel Brothers. There is a discussion of the nearest real-world counterparts in symphonies by Myaskovsky, Shcherbachev, and Shaporin. The Fifth was also perceived as a Hamlet-like creation, saturated with doubts and questioning, an interpretation prompted by Yuri Olesha’s play The List of Benefits. Another play that entered this literary complex was Alexei Faiko’s The Concert, which became a kind of stage commentary on Shostakovich’s predicament. Alexei Tolstoy’s official endorsement of the symphony said that it provides evidence for a “maturation of personality,” and this chapter shows that Tolstoy’s description depended on his readers’ familiarity with the “intelligentsia and revolution” trope in such a way that Shostakovich’s symphonic narrative received a positive spin.
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Cumbler, John T. "Farmers, Fishers, and Sportsmen". In Reasonable Use. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195138139.003.0014.
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At the end of the nineteenth century, Edward Bellamy, one of the Connecticut River Valley’s most famous literary residents, created a fictional character who wanted to avoid “industrial existence” and instead “all day to climb these mighty hills, feeling their strength” and to “happen upon little brooks in hidden valleys.” Bellamy planned for his protagonist “to breathe all day long the forest air loaded with the perfume of the forest trees.” The wanderings of this turn-of-the-century fictitious character through thick forests and deserted hills reflects the changes engendered in the valley with the coming of industrial cities and the abandonment of hillside farms. When Bellamy was born in 1850 at Chicopee Falls in western Massachusetts, the region was in the process of deforestation and had few areas that were not intensely farmed. Yet as Bellamy himself noted in an 1890 letter to the North American Review, “the abandonment of the farm for the town” had become all too common. Deserted farms became one of the themes Bellamy sketched out in his notes for the novel. Bellamy had his character live in an “abandoned farmhouse. . . . The farmhouse was one of the thousands of deserted farms that haunted the roadsides of the sterile back districts of New England.” In viewing the depopulated countryside as a retreat from industrial existence, Bellamy’s character represented the fate of late-nineteenthand early-twentieth-century New Englanders. Increasingly, urbanized New Englanders began to look to rural areas not as sources of food or resources of necessity but as places to contemplate nature and practice fishing and hunting as sport. As rural areas, particularly on the hills and up the valleys, became less populated, farmers there lost much of their political voice. New city voices now became more important in the conversation about resource conservation. What farmers saw as abandoned and ruined farms, urban and suburban naturalists saw as rural retreats from the tensions and pollution of the cities. For these interlopers, rural New England represented a romantic ideal of a past they or their ances tors put behind them when they moved to the city.
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Ray, Robert B. "Flaemmchen". In The ABCs of Classic Hollywood, 24–27. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195322910.003.0006.
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Abstract Flaemmchen (or Flämmchen, as Baum writes the name), is the diminutive of Flamme, “little flame.” While her name suggests the character’s sexual appeal and casual virtue, it also evokes the German expression auf kleiner Flammen kochen, literally “to cook over little flames” or “to make do with very little,” a connotation suiting Flaemmchen, who, as she admits to the Baron, gets by on “one meal a day.” The translation into English, however, sheds these connotations, and by doing so shifts Grand Hotel’s register from allegory to novel. In a famous objection to what he referred to as Anthony Trollope’s “fantastic names,” Henry James proposed: It is impossible to imagine what a novelist takes himself to be unless he regard himself as an historian and his narrative as a history. It is only as an historian that he has the smallest locus standi. As a narrator of fictitious events he is nowhere.
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McCracken, Saskia. "Virginia Woolf and Aldous Huxley in Good Housekeeping Magazine". In The Modern Short Story and Magazine Culture, 1880-1950, 187–207. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474461085.003.0010.
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In 1931, Virginia Woolf was commissioned to write a series of six articles for Good Housekeeping, a middlebrow women’s magazine, which have typically been read by critics as five essays and a short story. Woolf’s series takes her readers on a tour of the sites of commerce and power in London, from the Thames docks and shops of Oxford Street, to ‘Great Men’s Houses,’ abbeys, cathedrals, and the House of Commons, ending with a ‘Portrait’ of a fictitious Londoner. This chapter has three aims. First, it suggests that Woolf’s Good Housekeeping publications can be read not simply as five essays and a short story, but, considering Woolf’s ethics of the short story, as a series of short stories or, as the magazine editors introduced them, word pictures and scenes. Secondly, this chapter argues that Woolf’s Good Housekeeping series responds to, and resists the Stalinist politics of, Aldous Huxley’s series of four highbrow essays on England, published in Nash’s Pall Mall Magazine. Finally, this chapter analyses a critically neglected short story by Ambrose O’Neill, ‘The Astounding History of Albert Orange’ (February 1932), published in Good Housekeeping, which features both Woolf and Huxley as characters, and which critiques, satirises, and destabilises the boundaries of highbrow literary culture. Thus, the focus turns from highbrow writers’ short stories to a story about highbrow writing, all published in the supposedly middlebrow Good Housekeeping, demonstrating the rich complexity of the magazine, its varied politics, and its generically hybrid publications.
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Hauser, Kitty. "A Tale of Two Cities". In Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0011.
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In the summer of 1943, a year after the Baedeker raids on Canterbury that devastated large sections of the historic city, Michael Powell and Emeric Pressburger began to film A Canterbury Tale on location in wartime Kent. Its plot was curious: three individuals find themselves on the railway station of Chillingbourne, a fictitious village in Kent, during a blackout. Bob Johnson, an American GI on leave, is heading for Canterbury, but has got off at the wrong stop. Alison Smith has come to Chillingbourne to work as a land girl. Sergeant Peter Gibbs is based at an army camp nearby. As these three head into the village, Alison is ambushed by an assailant who leaves some sticky stuff in her hair. They give chase, but the stranger disappears. Arriving at the town hall, they are told that Alison has been the latest victim of a local troublemaker dubbed the ‘Glue-Man’, believed to be a soldier, who pours glue onto the heads of young women, making them scared to go out with the soldiers stationed near the village. Alison, Bob, and Peter eventually deduce that the ‘Glue-Man’ is the local magistrate, Thomas Colpeper. Colpeper runs lectures on the beauties of the English countryside for (male) members of His Majesty’s Forces. Disappointed by small audiences, he comes up with the idea of pouring glue on young women to stop them from dallying with the soldiers who would otherwise be learning about the Old Road that runs by the village, and other matters of local interest. When all four—Alison, Bob, Peter, and Colpeper— travel to Canterbury at the end of the film, Peter intends to report Colpeper to the police, but other events intervene, and each of the three central characters receives an unexpected blessing. This detective story, of sorts, in which the perpetrator of a bizarre crime is unmasked less than halfway through the film, where the criminal goes unpunished, and where his motives stretch credibility, was bound to confuse contemporary audiences when the film was released in 1944. As Ian Christie notes, A Canterbury Tale ‘perplexed even the film’s relatively few admirers’.
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Goldsmith, Oliver. "Scarce any virtue found to resist the power of long and pleasing temptation". In The Vicar of Wakefield, editado por Robert L. Mack e Arthur Friedman. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537549.003.0017.
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As I only studied my child’s real happiness, the assiduity of Mr. Williams pleased me, as he was in easy circumstances, prudent, and sincere. It required but very little encouragement to revive his former passion; so that in an evening or two he and Mr. Thornhill met at our house, and surveyed each other for some time with looks of anger: but Williams owed his landlord no rent, and little regarded his indignation. Olivia, on her side, acted the coquet to perfection, if that might be called acting which was her real character, pretending to lavish all her tenderness on her new lover. Mr. Thornhill appeared quite dejected at this preference, and with a pensive air took leave, though I own it puzzled me to find him so much in pain as he appeared to be, when he had it in his power so easily to remove the cause, by declaring an honourable passion. But whatever uneasiness he seemed to endure, it could easily be perceived that Olivia’s anguish was still greater. After any of these interviews between her lovers, of which there were several, she usually retired to solitude, and there indulged her grief. It was in such a situation I found her one evening, after she had been for some time supporting a fictitious gayety.—’You now see, my child,’ said I, ‘that your confidence in Mr. ThornhilPs passion was all a dream: he permits the rivalry of another, every way his inferior, though he knows it lies in his power to secure you to himself by a candid declaration.’—‘Yes, pappa,’ returned she, ‘but he has his reasons for this delay: I know he has. The sincerity of his looks and words convince me of his real esteem. A short time, I hope, will discover the generosity of his sentiments, and convince you that my opinion of him has been more just than yours.’—‘Olivia, my darling,’ returned I, ‘every scheme that has been hitherto pursued to compel him to a declaration, has been proposed and planned by yourself, nor can you in the least say that I have constrained you. But you must not suppose, my dear, that I will ever be instrumental in suffering his honest rival to be the dupe of your ill-placed passion. Whatever time you require to bring your fancied admirer to an explanation shall be granted; but at the expiration of that term, if he is still regardless, I must absolutely insist that honest Mr. Williams shall be rewarded for his fidelity. The character which I have hitherto supported in life demands this from me, and my tenderness, as a parent, shall never influence my integrity as a man. Name then your day, let it be as distant as you think proper, and in the mean time take care to let Mr. Thornhill know the exact time on which I design delivering you up to another. If he really loves you, his own good sense will readily suggest that there is but one method alone to prevent his losing you for ever.’—This proposal, which she could not avoid considering as perfectly just, was readily agreed to. She again renewed her most positive promise of marrying Mr. Williams, in case of the other’s insensibility; and at the next opportunity, in Mr. ThornhilPs presence, that day month was fixed upon for her nuptials with his rival.