Function Of Character Research Articles

Movie Character Recognition from Video and Image using AI

Recognition of movie characters using video and images An innovative research study called Using AI explores the use of Artificial Intelligence (AI) for recognizing and identifying movie characters using still photos and video clips. The study offers a new AI system that analyses visual input, extracts attributes, and correctly identifies movie characters using machine learning and deep learning methods. This system is able to identify characters in a single frame and follow their actions over several frames, giving it a thorough understanding of the character's function in the story. The technology's potential uses in a number of industries, including film creation, advertising, and audience analytics. The suggested AI system can automate video editing, help with character recognition-based targeted advertising, and offer insightful data on audience preferences and habits. The implications of this technology are enormous, creating new opportunities for the film industry to grow technologically. The challenges and limitations of implementing AI in movie character recognition. It highlights issues such as handling low-resolution images, varying lighting conditions, and changes in character appearance over time. Despite these challenges, the AI system demonstrates a high degree of accuracy and efficiency. The concludes by suggesting future enhancements to the system.

Menelusuri Sosok Kartini Melalui Liniearitas Alur Naratif Propp Dalam Novel Biografi Karya Pram

Gender discrimination in Indonesia has existed since ancient times. As a Javanese woman, Kartini became a figure who experienced the past and even by her family. Due to her limitations, Kartini wrote about her restlessness and thoughts in the form of letters sent to her Dutch friends. The letters were then collected and put together into a book entitled Door Duisternis tot Licht. Pramoedya took some fragments of Kartini's letter, and tried to see Kartini in her literary glasses in the biographical novel Call Me Kartini Saja. Relying on qualitative methods and constructivist paradigms and using Vladimir Propp's narrative analysis, the purpose of this research is to reveal the description of the character's function in the narrative in the novel. The role analysis is only in narratives that contain elements of feminism. This research found that the novel P Call Me Kartini Saja contains seven of the 31 narrative functions and seven characters which are grouped into four character functions. Through the narrative function and character function that have been analyzed in this novel, this suggestion suggests that Kartini's spirit in fighting for emancipation through her writing and thoughts should always be lived out in her daily activities because her struggle allowed Indonesian women to indulge their rights.

'Scythian' Archers on Archaic Attic Vases: Problems of Interpretation

AbstractThe article analyses the depictions of archers in so-called 'Scythian' clothes (a high sharp cap or a rounded hood, a caftan and trousers) in Attic archaic vase-painting. The author concludes that these figures were neither conceived as real ethnical Scythians, nor associated by vase painters or their customers with this or any other people. The clothes were rather an iconographic conventionality symbolising a second rank character accompanying a hero. The latter was depicted as a hoplite. The 'Scythian' clothes corresponded to the character's function, not to his ethnical identity. This scheme in vase-painting existed between c. 530 and 490 BC, and then went out of use, because after the Greco-Persian wars these clothes began to be associated with ethnical identity, though not Scythian, but Persian. The real prototype of the 'Scythian' archers were the archers of different ethnical groups first of Median, and later of Persian army. The 'Scythian' attire of the archers on the vases, therefore, has nothing to do with the real Scythians of the North Pontic area.

Homoplasy, character function, and nemertean systematics

We question recent claims that cladistic analysis is inapplicable in nemerteans (phylum Nemertea) due to a supposedly high degree of convergence. We further argue that terms like convergence and parallelism are historical sayings and only make sense in a phylogenetic context. Therefore, an approach aiming to produce phylogenetic hypotheses cannot be rejected on the grounds of a high degree of convergence before the actual hypothesis. Convergence is not an empirical observation, but a conclusion made after an analysis. We also discuss the view that knowledge of a character's function is a prerequisite for phylogenetic analysis and conclude that this is an invalid approach. Function, like any other way of sharpening our observations, helps in formulating non‐phylogenetic hypotheses of homology, but the crucial test is congruence with other characters on a phylogeny.

The Probable Etymological Roots of Hawthorne's Pietro Baglioni in “Rappaccini's Daughter”

AbstractAn examination of the potential etymological roots of Pietro Baglioni's name in “Rappaccini's Daughter” can provide insight into the character's function in the story as well as accommodate opposing interpretations of his role.

The role of Augusto Pérez: A study of Niebla

From the opening pages, the reader immedi ately observes that Niebla is about a form of art or, more specifically, about the novel. The pro logues discuss the subject, but the theme is de veloped, above all, by Augusto, the central protagonist or agonist. The first chapter begins with Augusto's entrance into a reality he avoided prior to the writing of the novel. As Augusto engages in activities he is creating his external reality and the very text of which he is a part. Clearly, Augusto is an artist in his own right, and the novel's sequence of events leads logically to his confrontation with Unamuno as they debate the question of authorship and authoritiy with respect to the work. Although the existential, psychological and lit erary dimensions of the novel are connected, this paper will focus on one central theme: the nature of artistic production. The context in which this activity occurs, the process it initiates, and the problem it occasions are a primary concern of Niebla and the topic of this study. Niebla?mist?by its very title suggests a world of endless flux and a novelist-creator trying to give order to this amorphous substance or shape less mass of reality. The artist is Augusto who enacts this role as he tells his tale or lives his life. Let us recall from the outset that if Unamuno created Augusto and put him into motion, it is Augusto who acts and make decisions which allow him to develop his existence. Augusto him self defines the part he plays: Como yo ahora aqu?*, representando a solas mi comedia, hecho actor y espectador a la vez (XVIII, 619).1 Carlos Blanco Aguinaga and Leon Livingstone emphasize Augusto's function as a self-conscious actor, and in turn, author, whose projection of self-created images establish and preserve the personality.2 And this theory, as Robert Alter points out, has ramifications for it establishes Niebla as an experiment in the possibilities of freedom in fiction writing. Alter compares Un amuno's nimia to D.H. Lawrence's narrative form and writes: . .and Lawrence's new open form, in which protagonists end up talking about their lives as though they were novelists deter mining how to handle the fiction of their own experience, would be one possible realization of Unamuno's program.3 Support for these theories comes directly from the text as Unamuno through V?ctor explains a character's function in the nivola: 'Voy a escribir una novela, pero voy a escribirla como se vive, sin saber lo que vendra . . . Mis personajes se ir?n haciendo seg?n obren y hablen;. . .su car?c ter se ir? formando poco a poco... (XVII, 615). If Augusto's independence makes Niebla a spon taneous or viviparous novel,4 such a classification reveals only a partial truth about the compostion since the work has a carefully articulated plan which relies heavily on August as the author of his own life. Paul Olson makes this observation and concludes: Paradoxically, the idea of living and writing 'sin plan previo' appears to be a basic 'plan previo' for this novel. . .5 With Augusto's status as a creator and consequently, an artist established, Unamuno devises a worthy counter part to exemplify the nivola s intent, as we shall see.

A Unified Sensibility: A Study of Henry James's The Ambassadors and Its Scenario (review)

Jin Ohsima. A Unified Sensibility: A Study of Henry James's The Ambassadors and Its Scenario. Tokyo: The Hokuseido Press, 1982. 120pp. In A Unified Sensibility, Jin Ohsima sets himself the task of exploring the disparities in artistic and moral vision between Henry James's "scenario" for The Ambassadors and the rich fulfiUment of the novel. Mr. Ohsima's often searching though decidedly unconventional study espouses the thesis that, under the pressure of creation and a growing distrust of European refinement , James fundamentally altered his concept of his protagonist, Lambert Strether, from a character who was to develop an almost unrestricted freedom and a large tolerance for the "animal in man" to one whose conscience led him to redefine experience in "supersensual" or spiritual terms. Mr. Ohsima further maintains that Strether's evolution into a man of fastidious conscience compelled James to make radical adjustments of his original assumptions about most of his characters and of his narrative strategies. Thus, the seemingly trivial change that Strether's male confidant undergoes from the "Waymark" of the scenario to the "Waymarsh" of the novel reveals to Mr. Ohsima deep changes in the character's function. Moreover, Mamie and Jim Pocock assume new roles, and Maria Gostrey takes on an almost new identity from a reminiscence of Henrietta Stackpole to a wise and witty guide through the mazes of Europe. Most drastically, however, Madame de Vionnet turns from an enchanting woman to an untrustworthy enchantress, and Chad, pictured in the scenario as an engaging cosmopolite, becomes a polished and nefarious schemer. In justifying his undertaking, Mr. Ohsima sets out to correct critics like F. O. Matthiessen who, he believes , have misread The Ambassadors under the mistaken notion that the scenario fully explains the novel. What Professor Ohsima proposes is that two different Strethers and two opposed definitions of "life" emerge from an examination of what James called his Project of Novel and The Ambassadors. The early Strether, the argument runs, is less inhibited by a Puritan conscience from responding to Europe's sensuous charms. Not appalled by the immorality he encounters, he absorbs the lesson of Europe so sympathetically that he can freely reject the unimaginative and prudish outlooks of Mrs. Newsome and WooUett. In contrast to this free spirit, the later Strether is troubled by the appeal of a Paris at once opulent in its beauty and undeterred by insular moralities . He escapes his dilemma, in Mr. Ohsima's view, by delusively converting Paris into an imaginary world where aesthetic and moral sensibilities exist in harmony. Strether thus comforts himself with two illusions: that Chad's refinement from a crude provincial to an agreeable Parisian has entailed no compromise with WooUett virtues and that Chad's close relations with the woman who remade him is therefore a "virtuous attachment." Mr. Ohsima contends that, given their opposed natures, James's heroes react differently when they discover Chad and Madame de Vionnet linked in an adulterous affair; the Strether of The Ambassadors confronts his romantic innocence with tragic clarity and a sense of defeat whereas the protagonist of the scenario takes his disillusionment as an almost necessary step in his education. With more symmetry than persuasiveness , Mr. Ohsima derives two starkly different definitions of "Uving" from the two documents; he argues that the original Strether conceives of life as immersion in and acceptance of reality while his later counterpart heightens "Ufe" into something idealized, aesthetic, and purged of physical grossness. Mr. Ohsima sees James's fictional hero as so transparently eager to be deluded that Little Bilham, Madame de Vionnet , and, most notoriously, Chad have little trouble in feeding him what he wants to believe; even Maria Gostrey respects his delusion and, except for a few hints to the contrary, aUows him to spin fanciful theories. This perhaps acceptable interpretation of Strether as the dupe of his own imagination leads Mr. Ohsima into some of his most daring and reckless speculations. Maintaining that James degraded Chad from the pleasant young man of the scenarVolume VI 69 Number 1 The Henry James Review Fall, 1984 io to an adventurer seeking expanded opportunities for sexual license in Europe, Mr. Ohsima suggests that Chad dislikes Strether and...