Conditions Of Character Research Articles

Possibilities of Creating Positive and Negative Emotional Fields in a Fictional Text (based the the 20th century Georgian Brief Fictional Prose)

The only tool for the author to share the feelings and express their spiritual world to the readers is linguistic means; Emotion is transformed in language which, at the same time, represents the principal focus for linguistics i.e. the ways how and for what purpose does the linguistic unit of language and speech denote emotion. The goal of the manuscript is to observe brief fictional prose, in particular, to show the linguistic possibilities of creating a positive and negative emotional field, which are characteristic for this type of texts. The research analysis has revealed that there are two main ways to create a positive or negative emotional mood in the reader: 1. The writer himself offers an assessment of the character's condition or circumstances by using appropriate emotional language means; 2. The writer presents the external world seen by the character, characterized by emotional-evaluative lexical units. It has been revealed that adjectives and verbs are the most frequently used in creating an emotional field; Depending on the context, the noun as the key word of the idea acquires an emotional load. An especially interesting feature was found to be the emotional interjection, as it expresses the characters' mood, feelings and emotions and is most distinguished by high emotional expressiveness; There predominates interjections connected with sadness, pain, surprise. There are also many religious words and phrases serving as interjections. There are the cases when the contrast and superiority of the positive emotions against the negatively painted situation causes emotion and, sometimes, the sudden, unexpected ending of the literary text is characterized by sharp emotionality. Emotionally colored lexical units appear mainly in two ways while creating the emotional field: 1. One word in a sentence or the same part of speech is characterized by more emotionality; 2. Several different parts of speech create an emotional context.

Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database

Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database

디지털 게임 속 의상기호에 관한 연구 - '페르소나5'의 캐릭터 의상을 중심으로

The costumes of digital games are not only an important visual tool that reveals the personality of a character, but also objects that help the player express emotion and personality. In media contents, costume has a function of expressing the social and psychological changes of the characters from the practical meaning and symbolically represents the inflection point of the narrative. Nonetheless, the research on game cost up to now focuses mainly on analyzing the design characteristics and improving the expression system, and the attempts to explore the semiotic meaning of the character costumes were insufficient. In this paper, we tried to analyze game costumes from the viewpoint of costume symbol, and to explore its meaning and role. To do this, we examined preceding studies on game costume and their symbol. In the online multiplayer game, the game costume was used as a means of creating social meaning and expressing the players' personalities. This is interpreted as reflecting the characteristics of online games that emphasize free choice of players and social interaction. On the other hand, in the case of a single-player game in which the narrative experience is emphasized, it has been shown that the game dress can serve as a symbol for symbolizing the character's position, role or personality. In other words, the costume in the game contents also functions as a cost symbol for text interpretation. Since then, this article analyzed the dress message of the game costume through the console game <Persona 5> released in 2017. As a result of the analysis, the game costume symbolically expressed the character's condition and psychological situation, and it was shown through the dress plot that the characters' growth process and awareness were visually transmitted.

Representasi Keluarga Jawa Dalam Film Jokowi

Javanese family is smallest scope of Javanese society. Social conditions of thefamily can be represented in various ways through various media, such as through themedium of movie. Movie entitled Jokowi is a biopic film with Javanese background.The film tells the struggle of life in chronological order. The film depicts a life conditionsof character with the Javanese family, set in the period of 1960 through 2012. TheJavanese family concept from literature books that according with time frames or yearsof the story, is used as references for a family reading of social interaction that appearsfrom the primary data, they are pieces of movie scenes. This study aims to determinehow the Javanese family represented through the Jokowi film. The method used in thisresearch is descriptive qualitative method, with approach a representation theory ofStuart Hall as the reading method. Representation approach is used to posit the film asa medium that can construct the meaning through language (constructionist). So, it canappears 6 selected sequences, contains scenes which may represent a social life ofJavanese family inside the film. The results of this study showed a nearly balanced,which appears three equations, two shifts, and one difference. Equations that appearare: (1) social relations childhood in a family through the closeness between father andson was a toddler; (2) the status of teenage boys who attend school; and (3) a patternof domestic cooperation through the division of labor. Then, a shift that appears are: (1)the social status of the family through a way of having a baby; (2) the role of parentsthrough of punishing the child after a fight. In addition, one significant difference thatappear is the closeness of father and son through the way of greeting each other.Keywords: family, Jawa, representation, and Jokowi

States of trial: manhood in Philip Roth's post-war America

Ann Basu. States of Trial-Manhood in Roth's Post-War America. London: Bloomsbury, 2015. 200 pp. $110 hardcover / $29.95 paperback.I think everybody here is wondering where the limit is, says Bill Orcutt, the neighbour of Swede Levov in American Pastoral (365). Orcutt, who is helping Levov's wife Dawn redesign the family home and is also sleeping with her, says in answer to helpless plea by the Swede's father, Lou, about the proliferation of divorce in American society: Where will it end? What is the limit? (Pastoral 364). Swede, asking himself how much more he can take after his daughter Merry's estrangement from the family, her transformation from lisping little girl to troubled teenager to domestic terrorist to born-again Jain, must now contend with performative moralizing from the man who, by having an affair with his wife, has further broken down the edifice of Levov family life. Swede might be wondering where the limit is; so might we readers, for whom experiencing the attritional suffering represented in American Pastoral is no passive delight either. The five main texts at the heart of Ann Basu's States of Trial, of which American Pastoral is one, share quality of tryingness, of pushing their protagonists to the limit-sometimes with exhilaration, sometimes in spirit of mischief, sometimes for purpose at least cagily political. For Basu, the personal trials undergone by Roth's characters in these five works (Operation Shylock, American Pastoral, I Married Communist, The Human Stain, and The Plot Against America) resemble the sorrows of earlier protagonists, but their pains gain greatly in significance by being figuratively aligned with tests generated by historical and political processes (Basu 7).Basu is not alone in detecting a decisive turn towards broad historical consciousness (31) in late-period Roth, although, as she admits, she is unusual in placing that turn in 1993 with the publication of Operation Shylock. Her justification, which makes good sense, is the importance of literal to that work, the in Jerusalem in the late 1980s of Ivan the Terrible, or John Demjanjuk, who pled not guilty to having been guard at Treblinka concentration camp. Basu puts the concept of the at the center of her reading of Operation Shylock, which enables us to see the rest of the novel's events, in all their freewheeling, maddening implausibility, as trials too. Early in her introduction, Basu confirms that we are to read the word trial in its three interwoven but often conflicting senses of testing, suffering and experimentation (1); states, meanwhile, can refer to character's condition, or to the United States, or, in the case of Operation Shylock, to the warring states of Israel and Palestine. Basu points out the oddity by which procedural trials are arenas in which the compulsion to hear competing narratives wrestles with the urge to artificially reconcile or to flatten contradictory narratives so as to reach 'fitting,' but artificial, conclusion (12). For Basu, trials demand the expression of their antagonists' opposing realities only, of necessity, to subdue them; but there is no conclusion, natural or artificial, to the trials that Operation Shylock's Philip Roth is put through by the doppelganger he playfully names Moishe Pipik-only confusing, irritating, frequently frightening contradictions, tortures seemingly without limit.How could I be that and this? imagines Demjanjuk asking himself, as he stands for crimes he either never committed, or else committed lifetime ago (Shylock 63). How could I be that and this? is one of the animating questions of Operation Shylock, and of Roth's whole oeuvre, which brims, as Emily Miller Budick notes, with neurotics of highly visible and juicy sort (Budick 73) at pains to reconcile their divergent and conflicting impulses. In Roth's hands, being both that and this is the Jewish-American condition; it is certainly the condition of his many writer-protagonists, whom we so often see in the process of fictionalizing themselves even as their narrative describes the deceptions and self-deceptions of others. …

Beowulf (review)

and the flinty eloquence of its folk. The generosity and sweetness of a people happy to have Uved, and been part of one another, now and perhaps forever, sing loud and clear in these bountiful hundreds ofpages. (BA) Disgrace by J. M. Coetzee Viking, 1999, 220 pp., $23.95 "These are puritanical times. Private life is public business," announces David Lurie, the twicedivorced , joyless academic protagonist of Disgrace, the novel for which J. M. Coetzee received an unprecedented second Booker Prize. After teaching for a quarter century, Lurie loses his job as an adjunct professor of communications at Cape Technical University for his refusal to pubUcly repent of his brief affair with a pretty yet mediocre student. At 52, Lurie suddenly finds himself job-less, friendless, despised by his ex-wife and unable to write (his current project is an eccentric chamber opera about Byron's last years). Contemptuous and angry, he arrives at his daughter Lucy's smaU, isolated farm in the uplands of Eastern Cape, intending to temporarily escape what she sarcasticaUy calls his "higher Ufe" for one he beUeves to be simpler and less compUcated. Lurie becomes a farm worker and animal-shelter volunteer and tries to reestabUsh a relationship with his twenty-something daughter, who refuses to coddle him despite his selfinflicted despair. Beginning a new life in the country as a recluse is filled with its own peril, and Lurie soon finds himsetf in a dangerous place, where all his sophistication and extensive learning prove useless. Lurie and Lucy are unable to protect themselves from an afternoonlong , savage attack by three black men. Beaten, disgraced and humiUated , the former professor must help himselfand his daughter recover from the violence. The process is slow, and the suffering they endure raises for Lurie myriad questions about human isolation, parenthood and racial confrontation . He finds few answers. Worn and weary, yetwiser and kinder, Lurie concludes, "One gets used to things getting harder." The author of eight novels, Coetzee writes in concise yet gorgeous prose, and with a fierceness of attitude, about what it means to be human and in search of your soul in a complex time and place. Disgrace is a touching and perplexing novel, a major achievement . (KS) Beowulf translated by Seamus Heaney Farrar, Straus & Giroux, 2000, 220 pp., $25 Seamus Heaney's new translation ofBawul/plunges readers to the "first stratum of the language," and they apparently like what they find there. A New York Times best-seUer and a seUout at megastores, this is a Uvely yet responsible rendering by the Nobel laureate of one of English Uterature's oldest heirlooms. This shining translation abounds in idiomatic language, local metaphor and even the occasional diche. For example, BeowuU repUes to a drunken Unferth's criticisms that "it 198 · The Missouri Review was mostly beer/that was doing the talking," and Hygelac, Beowulf's king, "hankers" to know the SeaGeats ' stories. Heaney's famiUar diction springs from his wish to change the average reader's impression that the poem is "written on official paper," i.e., a dusty literary relic. He conjures the speech ofhis Ulster kinsmen to provide him a "voice-right" to the poem's original language. In his preface Heaney declares his priorities. Naturalness and the "forthright deUvery" he finds in the original have been put before strict fideUty to meter, sentence structure, apposition, kennings, etc. From the outset his refusal to translate safely (and slavishly) is clear. OccasionaUy, however, his adjustments result in a disappointing loss of poetic effect. Heaney's best and most clairvoyant moments as a translator involve an intense identification with a character's condition. One warrior's long wael-fagne (UteraUy, "slaughterstained ") winter with his enemy is rendered as "resentful, blood-suUen." This kind of psychological apprehension springs in turn from an abiUty to bring to life the physical dimension first: Ongentheow's hand is imagined as "feud-caUoused," and Beowulf 's pain from the heated metal of his cheekguard is powerfully felt. Similarly, poetically rich kennings such as "wave-vat" for "sea" and "heather-stepper" for "deer" remain as is. Rarely does Heaney miss the mark in regard to word choice, but when he does, the...