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Journal articles on the topic 'Animated discourse'
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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.
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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.
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Ivchenko, Natalia. "Comic Function in the Animated Ecodiscourse (Case Study of “Zootopia”)." Theory and Practice in Language Studies 11, no. 9 (2021): 1080–86. http://dx.doi.org/10.17507/tpls.1109.14.
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This study focuses on the role of comic functions in exposing and challenging hidden ideologies, intentions, potential significance and other phenomena behind the animated ecological discourse of the film "Zootopia". The paper consistently considers two views on the ecology of animated discourse and comic functions that are used to uncover violation and establish an eco-friendly relation by means of language forms. The material of the English-language animated discourse of the film "Zootopia" examines cooperation of verbal and nonverbal modes, exposes problems and encourages solving them as well as promotes establishment of sustainable relationships between humans themselves, humans and nature as well as its phenomena.
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Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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Kirpicheva, Olga V. "PRECEDENT NAMES OF THE WALT DISNEY ANIMATED DISCOURSE CHARACTERS." Bulletin of the Moscow State Regional University (Linguistics), no. 6 (2020): 17–26. http://dx.doi.org/10.18384/2310-712x-2020-6-17-26.
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Tritthart, Martina. "Animated Urban Surfaces: Spatial Augmented Reality in public discourse." International Journal of Film and Media Arts 6, no. 2 (2021): 75–94. http://dx.doi.org/10.24140/ijfma.v6.n2.05.
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Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.
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Fore, Steve. "Reenacting Ryan: The Fantasmatic and the Animated Documentary." Animation 6, no. 3 (2011): 277–92. http://dx.doi.org/10.1177/1746847711416561.
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In this article, the author discusses the animated documentary in relation to the use of staged reenactments in works that are generally understood as documentaries. His conceptual foundation draws especially on recent work by Bill Nichols on documentary reenactments, which he argues have specific ‘fantasmatic’ and reflexive qualities. These qualities clearly dovetail with key attributes of animation, with the animated documentary standing as a significant and interestingly hybrid creative form. Key ideas are applied to a case study of Chris Landreth’s Ryan (2004), in which Landreth deploys fantasmatic visual flourishes partly in order to destabilize the documentary’s conventional discourse of sobriety, pushing it in the direction of its mirroring discourse of delirium, and partly to explore the current status of animation (and animation tools) in the realm of visual simulation.
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Sliepushova, Anhelina. "Father-child discourse in Family Guy: a corpus-based analysis." Synopsis: Text Context Media 26, no. 2 (2020): 61–65. http://dx.doi.org/10.28925/2311-259x.2020.2.6.
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The article aims at analysis of gender and family stereotypes in father-child communication in an animated series Family Guy, featuring a typical American family. The study focuses on Peter Griffin's discourse, the father of the family, containing his communication with two of his teenage children, a son and a daughter, unveiling gender peculiarities in father-son and father-daughter discourses. The attempt is made to disclose how gender and family roles are verbalized in communication between family members. The conversation, discourse and corpus-based analyses have been used to analyze the main character's discourse in order to single out the father's specific vocabulary — through word lists, keyword lists, clusters and collocations — he uses while communicating with his son and daughter. The findings show that Peter Griffin chooses different language means while talking to his son and daughter. Thus, his discourse addressing his adolescent son Chris is rich in direct addresses, mainly commands when the father tries to discipline his son. Offering his son emotional support or encouragement the father stays forthright with him creating an image of “real men” stereotypical conversations. On the contrary, while communicating with his daughter Peter modifies her name Meg addressing her as honey, sweetheart, one-of-a-kind in father-daughter discourse. However, using diminutives he humiliates his daughter and makes her feel an abandoned child. In this way, he makes her feel special but in a negative way. Family communication created in the animated series reflects gender stereotypes in father's attitude to his children belonging to two different sexes. Nevertheless, this verbal tendency does not affect relationships within the family. For the future, it is worthwhile to compile a larger corpus including mother-child, child-father, and child-mother discourses to get more representative results
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Giriyani, Perni, and Efransyah Efransyah. "FLOUTING MAXIMS ON THE DIALOGUE OF CHARACTERS IN UP! ANIMATED MOVIE." PROJECT (Professional Journal of English Education) 3, no. 4 (2020): 512. http://dx.doi.org/10.22460/project.v3i4.p512-517.
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This research is about flouting maxims on the dialogue of characters in UP! Animated movie. Hence, it is aimed to know flouting maxim on UP! animated movie. This research is used qualitative research. The data of this study was taken on flouting maxims on the discourse of figure in UP! animated movie from he main characters namely old name Carl Fredrickson and Russel. There are several steps in collecting the data namely, finding a script UP! of the animated movie, next is analyzing the script with the UP! movie and the last is to list the utterances of the main personality of UP! animated movie in flouted maxims and finally analyzing them based on the chosen theory. After conducting the research, the writer found 20 sentences that flouted by Mr. Fredickson and Russel animated UP! movie. Those kinds of maxims are 6 flouted maxims of quantity, 7 flouted maxims of quality, 3 flouted maxims of relevance, and 4 flouted maxims of manner. Keywords: Flouting maxim, Dialogue, Movie
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MUSHTAQ, HAMMAD, and TASKEEN ZEHRA. "Teaching English Grammar through Animated Movies." NUST Journal of Social Sciences and Humanities 2, no. 1 (2021): 77–87. http://dx.doi.org/10.51732/njssh.v2i1.11.
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This study seeks to examine how various components of English grammar can be taught through animated movies. The study demonstrates the use of gerunds in a sentence or a discourse through an animated feature film Tangled. The data for this research was taken from the students of grade eight. The students were shown various video clips, comprising dialogues and songs, from the movie and asked to identify the use of gerunds. Later, the students were given various worksheets containing tasks, based on the use of gerunds in a sentence. The students remained very responsive during the whole lesson and effectively learned the use of gerunds and the difference between gerunds and the present participle. The study concluded that animated movies in grammar teaching classes can serve as a positive reinforcement tool for the language learning process as the animated movies considerably increase the learning speed and proficiency of the students.
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Petiy, Nataliya. "GENDER CATEGORIZATION OF FEMALE CHARACTERS IN THE ANIMATED DISCOURSE IN ENGLISH." Inozenma Philologia, no. 129 (October 15, 2016): 121–26. http://dx.doi.org/10.30970/fpl.2016.129.604.
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Rahayu, Mundi, Irwan Abdullah, and Wening Udasmoro. "PERGESERAN NILAI-NILAI ISLAM DALAM CERITA ALADDIN: PERBANDINGAN “ARABIAN NIGHTS” DAN FILM ANIMASI DISNEY." El-HARAKAH (TERAKREDITASI) 17, no. 1 (2015): 52. http://dx.doi.org/10.18860/el.v17i1.3085.
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<p class="Abstrak"><em>This study compares the folktale “The Story of Aladdin and the Wonderful Lamp” from the Arabian Nights, and the animated film produced by Walt Disney Feature Animation under the title “Aladdin” (1992). </em><em>The story of Disney’s animated film “</em><em>Aladdin</em><em>” is based on the </em><em>“The Story of Aladdin and the Wonderful Lamp.” </em><em> The comparison of the two is focused on the aspect of Islamic values, its shifts and changes in the animated film </em><em>Aladdin. The study applies Fairclough’s Critical Discourse Analysis, by applying the three stages of analysis. The first level is micro level, on the language practice. In </em><em>the </em><em>second level, mezo level, </em><em>discusses the </em><em>discourse practice </em><em>that </em><em>covers the intertextuality</em><em> that explore the production and consumption of text </em><em>as the reference in delivering the ideas. In </em><em>the </em><em>third level, macro level, it interprets the social </em><em>context of </em><em> particular </em><em>events.</em><em> </em><em>The finding shows that there is a change of discourse of Islamic value which is strongly expressed in the origiinal Aladdin story of </em><em>“Arabian Nights</em><em>” especiallly the important role of family. On the other hand, in the animated film Aladdin, remove the discourse of Islamic value and change it into the discourse of freedom. </em></p>
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Ristiasari, Riska, and Hendra Kaprisma. "SOCIAL CRITICISM IN THE MISTER FRIMEN ANIMATED SERIES." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 176–88. http://dx.doi.org/10.33153/capture.v12i2.3255.
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Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity
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Kroløkke, Charlotte. "Life in the cryo-kennel: The ‘exceptional’ life of frozen pet DNA." Social Studies of Science 49, no. 2 (2019): 162–79. http://dx.doi.org/10.1177/0306312719837610.
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This article employs a feminist science and technology studies perspective to investigate how the cryo-vitality of frozen pet DNA is potentialized and animated. This is accomplished by empirically foregrounding the marketing material and online presence of two genetic pet preservation companies: PerPETuate and ViaGen Pets. While the allure of cryopreservation for pet owners is situated in light of the ability to re-animate and re-entangle biological matter into future (old) pets, the preservation of pet DNA is potentialized through the logics of love, sameness, purity, and kinship. The article shows how preserved dog DNA moves from a rescue discourse in which exceptional kinds of dogs are preserved to a preservation-of-kin discourse in which the preserved pet DNA is narrated in humanist kinship terms. Exploring the ways that pet DNA preservation and culturing is articulated from kin(d) to brand, the study speaks to the human-animal cryo-interface calling for scholarly attention to the emergent businesses in preserving biological material for one’s future use.
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Md Idris, Izra Inna, Mohamad Saleeh Rahamad, and Md Azalanshah Md Syed. "Saladin: The Animated Series sebagai wacana Orientalisme." Jurnal Pengajian Media Malaysia 19, no. 1 (2017): 1–22. http://dx.doi.org/10.22452/jpmm.vol19no1.1.
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This article analyzes the discourse of Orientalism in Saladin: The Animated Series for the first episode entitled Rising Star. Edward Said (1978) in his book Orientalism: Western Conceptions of the Orient (1978) opposed Western perspectives on the East and analyzed postcolonial literary works in historical and social contexts, and describes orientalist discrimination in speculating and specifying data sources for particular interests. This study draws on a series of animations directed by Steve Bristow that showcased the leading Islamic figure of the crusade, Sultan Salahuddin al-Ayubi (1137-1193) or known as Saladin by the Western world. Taking the personality of an Islamic character to be the main character in the animated series is something to be proud of, but the fact about Sultan Salahuddin al-Ayubi’s personality has been distorted in Saladin’s character. This study looked at the orientalist attacks on the personality of Sultan Salahuddin al-Ayubi and found that the Saladin’s character was portrayed as physically weak, shallow-minded, and disobedient to his father. The whole of this first episode shows the misrepresentation of facts and the distortion of the image of Salahuddin al-Ayubi.
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Md Idris, Izra Inna, Mohamad Saleeh Rahamad, and Md Azalanshah Md Syed. "Perbincangan Orientalisme Melalui Analisis Semiotika dalam Animasi." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (2021): 295–313. http://dx.doi.org/10.17576/jkmjc-2021-3701-17.
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Discussion of Orientalism through Semiotic Analysis in Animation ABSTRACT This study reveals, interprets and understands the oriental influence in Saladin: The Animated Series through the semiotic analysis of Roland Barthes. This study looks at the semiotic elements found in the animated series through a system of signs and this conceptual framework of Barthes is divided into two components, signifier and signified. This sign system is used to look at the symbols through frames in this animation. The analysis of this study examines the changes in the title, poster, use of language, which led to the occurrence of orientalism discourse to disgrace the Islamic figure, Salahuddin al-Ayubi. The findings of the study found that the Westerners used Saladin as a title and not Salahuddin al-Ayubi. Next, the changes in the portrayal of Islamic figure in the poster of the animated film Saladin and Saladin: The Animated Series. There was confusion when the main character of this animated series, Saladin, was not placed in the middle of the poster. Each of the posters shows the influence of orientalism. In terms of language use, the animated series shows the acceptance of external influences such as the use of English as the primary language. The Arabic language is used for the audience in the Middle East and the Malay language is positioned only as a subtitle. The results show that orientalism tarnishes the identity of this Islamic figure. Keywords: Orientalism, semiotic, sign system, signifier, signified.
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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (2018): 215. http://dx.doi.org/10.3390/socsci7110215.
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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately, I argue that Pixar has once again opened space by embracing empowered and collaborative parenting.
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Abdullah Rashed, Atoof, and Laila M. Al-Sharqi. "Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast." Arab World English Journal For Translation and Literary Studies 5, no. 1 (2021): 126–43. http://dx.doi.org/10.24093/awejtls/vol5no1.9.
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This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.
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Salam, Rahmatullah. "TEXTUAL INTERPRETATION OF THE PROHIBITION OF MAKEUP: RECEPTION AND DISCOURSE ANALYSIS OF NUSSA GIRLS TALK." Al-A'raf : Jurnal Pemikiran Islam dan Filsafat 17, no. 2 (2020): 307–28. http://dx.doi.org/10.22515/ajpif.v17i2.2444.
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This study aims to explain analytically the receptions of the Qur'an in the animated movie, episode Nussa: Girls Talk. A part of the Qur'anic verse from Surat Al-Ahzab: 33 presented in this episode shows that there are makeup rules for women that tend to be understood textually. Based on the categorization of interaction between religious followers and the holy book by Sam D. Gill and Teun A Van Dijk's critical discourse analysis as an analytical tool, the study found that the reception in the episode of Nussa: Girls Talk is both exegetical and informative. The interpretation (tafsir) presented in this episode is textual. The form of textual interpretation was chosen by the producers because of its concise and considered more relevant for children as the main targets/audiences. Besides, the socio-religious background of theproducers of Nussa: Girls Talk is known to have a close relationship with the hijrah movement; an Islamic movement that tends to be fundamentalist. As a results, textual understanding develops and tends to dominate in this animated movie.
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Graan, Andrew. "On the Politics ofImidž: European Integration and the Trials of Recognition in Postconflict Macedonia." Slavic Review 69, no. 4 (2010): 835–58. http://dx.doi.org/10.1017/s0037677900009876.
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This article examines how a discourse on international image animated Macedonian politics following the country's 2001 conflict and how it reflected a broader cultural politics of European Union expansion. Contrasting with the continual deferral of recognition that characterized European integration in Macedonia, the Macedonian discourse on image(imidž)anchored a social imaginary where a national project of marketing could facilitate Macedonia's accession into the European Union and concretize its belonging to "Europe." The analysis developed here centers on the ambivalences in this discourse and the practices it authorized. By incorporating both orientalist distinctions and key concepts from the European Union's own process of integration, the discourse of imidž supported the neoliberal reform associated with Macedonia's postconflict restructuring and European integration. But the discourse on imidž also provided Macedonian political actors with an idiom in which to imagine, respond to, and capitalize on the larger political forces engendered by discursive constructs of Europe and the international community.
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Graesser, Arthur C., Moongee Jeon, Yan Yan, and Zhiqiang Cai. "Discourse cohesion in text and tutorial dialogue." Discourse, Cognition and Communication 15, no. 3 (2007): 199–213. http://dx.doi.org/10.1075/idj.15.3.02gra.
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Discourse cohesion is presumably an important facilitator of comprehension when individuals read texts and hold conversations. This study investigated components of cohesion and language in different types of discourse about Newtonian physics: A textbook, textoids written by experimental psychologists, naturalistic tutorial dialoguebetween expert human tutors and college students, andAutoTutor tutorial dialogue between a computer tutor and students (AutoTutor is an animated pedagogical agent that helps students learn about physics by holding conversations in natural language). We analyzed the four types of discourse with Coh-Metrix, a software tool that measures discourse on different components of cohesion, language, and readability. The cohesion indices included co-reference, syntactic and semantic similarity, causal cohesion, incidence of cohesion signals (e.g., connectives, logical operators), and many other measures. Cohesion data were quite similar for the two forms of discourse in expository monologue (textbooks and textoids) and for the two types of tutorial dialogue (i.e., students interacting with human tutors and AutoTutor), but very different between the discourse of expository monologue and tutorial dialogue. Coh-Metrix was also able to detect subtle differences in the language and discourse of AutoTutor versus human tutoring.
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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.
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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
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Danilović Jeremić, Jelena. "BLEND-O-RAMA: BLENDING IN THE TITLES OF EPISODES OF ANIMATED TELEVISION SERIES FOR CHILDREN." Nasledje Kragujevac 18, no. 48 (2021): 53–69. http://dx.doi.org/10.46793/naskg2148.053dj.
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Often defined as a marginal word-formation process whose governing principles remain a matter of controversy, lexical blending has been examined from various perspectives over the past fifty years or so. Lexical blends have thus been described as (mostly) ephemeral linguistic creations, playful and witty, that are likely to occur in popular press, advertising, and product naming (Bryant 1974; Lieber 2010). Although we can nowadays understand the key characteristics of blends, in terms of their semantic, phonological and orthographic features, corpus-based studies of blends associated with particular types of discourse remain scarce. Television discourse is no exception. It has been cited as a rich source of blends (Mattiello 2013; Sams 2016), yet few have hitherto conducted their detailed analysis (cf. Andriani, Moehkardi 2019). Having noticed that blends frequently occur in the titles of episodes of animated television shows for children (e.g. Smeldorado in Inspector Gadget, The Three Smurfketeers in The Smurfs, Pinknic in The Pink Panther), we decided to investigate their structural characteristics. For this purpose, we collected a corpus of approximately 420 blends from the titles of animated series episodes, spanning 1950-2020. The analysis has shown that haplology and hyphenation feature prominently in the collected blends, as well as that several splinters are repeatedly used in their formation.
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Laith Younus, Lina, and Nahid Ra’aoof Kareem. "Agency as Rhetorical Device in the Discourse of kids Animated Learning Videos on Covid- 19 Virus." Arab World English Journal 12, no. 3 (2021): 486–506. http://dx.doi.org/10.24093/awej/vol12no3.33.
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At Covid-19 pandemic, people worldwide were attacked by a dangerous and widely spread virus known as Coronavirus. Kids are not matured enough to understand why they have to stay home and follow health instructions. Animated learning videos are designed for kids for the purpose of making them aware of the virus. The objectives of the present study are: (1) Examining one of Burke’s pentad (1969) represented by ”agency,” in Covid-19 kids videos, (2) Investigating the rhetorical devices used in the selected data to inform, persuade and make kids aware of what is meant by covid-19, (3) Revealing the dominant rhetorical device. The main question that arises here is; “what are the rhetorical strategies used in the discourse of the learning videos on Covid-19”. The selected data is limited to the discourse of six kids’ videos dealing with covid-19 found on YouTube. The theories followed in the analysis are Tarigan’s theory (2013) and Burke’s pentad (1969). The results revealed that the discourse of each video reflects a dramatic situations, including the pentad items; act, scene, agent, agency, and purpose. It is also found that agency as a rhetorical device is highly used in the selected data and the most dominant device was personification. It is concluded that the use of the dramatic situations and rhetorical devices in such videos has a valuable role in making kids aware of what is meant by Covid-19 pandemic and persuaded why they have to follow the safety instructions, leaving schools and stay home.
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Megaswari, Riajeng Woro, and Sumarlam Sumarlam. "Antonyms in the Animation of “KKN di Desa Penari” From Rizky Riplay’s Youtube Account." Jurnal Lingua Idea 11, no. 2 (2020): 187. http://dx.doi.org/10.20884/1.jli.2020.11.2.2621.
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This study aims to describe the cohesiveness of the discourse in terms of the lexical cohesion aspects of the use of antonymy in an animated story about "KKN di Desa Penari" from the Rizky Riplay Youtube channel. The object of this research is the antonymy found in the animated story about "KKN di Desa Penari" on Rizky Riplay's Youtube channel. The method used in the provision of data is the observing method by watching the animated story with an advanced technique using the "Simak Libat Bebas Cakap" technique (Uninvolved Conversation Observation Technique), and a second advanced technique using the note-taking technique by sorting the required lingual units as data. The method used in analyzing the data is the distributional method. The distribution method is a data analysis method in which the determinant tool is part of the language concerned. The methods used to present the results of data analysis in this study were the formal and informal methods. The results of the analysis of data, in general, showed that the antonymies that appear in the animation from the Rizky Riplay Youtube channel are in the form of polar opposition, plural opposition, relationship opposition, hierarchical opposition, and absolute opposition. This research only focuses on the lexical cohesion aspect of the antonymy usage in the animated story to find out the opposing forms of meaning that are either very opposite or just contrasting meanings.
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Furuhata, Yuriko. "Weathering with You." Representations 157, no. 1 (2022): 68–89. http://dx.doi.org/10.1525/rep.2022.157.4.68.
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This article focuses on the animated Japanese film Weathering with You (2019) in order to think critically about the limits and merits of site-specific, local approaches to the anthropogenic climate crisis, and to the Anthropocene and its mythopoetic tendency. While the geological period of the Anthropocene is thoroughly historical and rooted in the modern scientific paradigm of Earth history, the mythologizing tendency in search of new cosmologies within the discourse of the Anthropocene complicates this linear trajectory of time. Anthropocene discourse invites its critics to revive and reinvent local myths. When these myths appear within the planetary scale of Anthropocene discourse, they take on a cosmological, if not universal, outlook. It is this spatial and temporal paradox of myths within the geological framework of the Anthropocene that this article investigates through the mediation of Weathering with You.
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Niehoff, Maren R. "A Roman Portrait of Abraham in Paul’s and Philo’s Later Exegesis." Novum Testamentum 63, no. 4 (2021): 452–76. http://dx.doi.org/10.1163/15685365-12341713.
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Abstract This article analyzes Bible exegesis as a key to understand the increasingly Roman orientation of Paul. Philo of Alexandria, Paul’s slightly older contemporary, is introduced as a point of comparison, as his move from the earlier Allegorical Commentary to the Life of Abraham clearly documents an intellectual journey towards Roman discourses, which is characteristic also of Paul. The argument is presented in three steps: initially the image of Abraham in Galatians is compared to that in Romans and the new discourse of exemplarity in the latter is highlighted. In the second section Philo’s image of Abraham is analyzed in its dramatic change from systematic Bible commentary to exemplary ethics. The third section deals with the Roman context. The latter is illuminated by looking at some passages in Philo’s later treatise Every Good Man is Free, which addresses Roman audiences on their own turf by discussing Greek and Roman heroes. It is shown that these Pagan portraits are animated by the same discourse of exemplarity as Philo’s and Paul’s Roman portrait of Abraham in their later exegesis. As the Pagan anecdotes have parallels in Roman literature, they provide a context for Paul’s and Philo’s exegesis in a Roman key.
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Chiru, Costin-Gabriel, and Stefan Trausan-Matu. "A Tool for Discourse Analysis and Visualization." International Journal of Virtual Communities and Social Networking 5, no. 2 (2013): 55–71. http://dx.doi.org/10.4018/jvcsn.2013040104.
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In this paper the authors present a system that combines the cognitive and socio-cultural paradigms in the field of discourse analysis in order to analyze both texts written by only one author (for example narrations) and those written collaboratively (chat conversations, blogs, wikis, forums). The novelty of their approach is that the majority of the existing applications are oriented on analyzing only one of these two types, an adaptation being necessary for the analysis of the other type. Another advantage of the presented system is that since it is centered on a dialogistic polyphonic model considering topics as inter-animated voices, it could show the difference between coarse- and fine-grained coherence in discourse, therefore allowing the analysis of a text from two different viewpoints: a) its intrinsic structure and cohesion and b) how well this text fits in a stream of texts (whether it is or not cohesive with the texts before and after it). The dialogistic polyphonic model was used as a starting point for a method for analyzing collaboration and social construction of knowledge in groups and communities using textual interactions, and for several implemented systems for providing computerized support to the analysis method through visualizations and feedback generation.
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Trysińska, Magdalena. "A film discourse on emotions, exemplified by the Pete Docter’s animated film for children “Inside Out”." Media Linguistics 9, no. 1 (2022): 15–31. http://dx.doi.org/10.21638/spbu22.2022.102.
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This paper discusses the conceptualization of anthropomorphized emotions in children’s animated films, using the example of the Polish (dubbed) version of Pete Docter’s production Inside Out (2015). This is a new issue that has not been developed in the fields of film studies, linguistics, and media linguistics. It is placed in the wider context of film discourse, with particular emphasis on the visual-verbal layer and educational function. In a film treated as a media message, all dimensions of film discourse are fulfilled. The basic research unit is a statement extracted from an audio track, functioning in a specific situational context and associated with a visual code. Children perceive the world filtered by characters’ experiences, knowledge, and emotions. They accept their point of view, which is revealed both in visual and verbal layers. The audiovisual nature of the message forces us to adopt a broad multimodal research perspective. Since the research has an interdisciplinary nature and is within the framework of media linguistics, attention is focused on those elements of cinematic work that the viewer (child) is able to decode: the narrator’s person, the coexistence of visual and verbal codes, and the principle of contrast. The elements indicated interpenetrate and thus create an integral cinematic picture of emotions. The analysis showed that the film fits into the medial (cinematic) discourse about emotions. Due to its audiovisual capabilities, it has great potential in demonstrating and explaining complex emotional states, often difficult to understand by the intended recipient of the film. Its uniqueness is evidenced by the fact that it does not so much appeal to the emotional sphere of the child audience, but anthropomorphizes emotions. It depicts the world and situations that are impossible to imagine due to child-specific cognitive deficits.
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von Flotow, Luise. "The (Globalized) Three Amigos: Translating and Disseminating HIV/AIDS Prevention Discourse." TTR : traduction, terminologie, rédaction 18, no. 2 (2007): 193–207. http://dx.doi.org/10.7202/015770ar.
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The effects of a translated text are notoriously hard to trace and establish. However, in the case of The Three Amigos, a series of short public service announcements on HIV/AIDS prevention that feature three comic figures (animated condoms) and accompany them through numerous adventures in 50 languages, the effects have been hugely successful–measurable in numbers of condoms sold! This article studies some of the translation problems posed by this Canadian production, and examines aspects of the Anglo-American source culture that are now hampering the distribution of this highly successful work. It thus positions translation dissemination as an issue related to source culture policies and politics that may play a bigger role in translation “effects” than a felicitous translation. Keywords: translating HIV/AIDS discourse, translating animation, translating wordplay and jokes, translation and source culture politics.
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Larios, Shaday. "Investigación-creación en el teatro de formas animadas." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 17 (2020): 4–29. http://dx.doi.org/10.25009/it.v11i17.2625.
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Existen distintos formatos de investigación-creación en el ámbito del teatro de formas animadas, así como creadores que imaginan marcos de visibilidad singulares para compartir sus propias búsquedas. En este artículo se exponen actitudes y tácticas detectables en un trabajo de investigación-creación (visibilidad, distanciamiento activo, singularidad, discurso encarnado) y se pregunta por la posibilidad de crear una red de investigadores-creadores de este tipo de “teatro animista” en Iberoamérica.Research and Creative Practice in the Theatre of Animated FormsAbstractThere exist different approaches to practice-based research in the field of Theatre of Animated Forms, and creators who imagine unique frameworks of visibility to share their own work. This article presents a range of tactics found in practice-based research, such as visibility, active distancing, uniqueness, and embodied discourse. The author suggests the possibility of creating a network of researchers-creators of “animist theater” in Latin America.Recibido: 03 de marzo de 2020Aceptado: 15 de abril de 2020
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Pritchard, Erin. "“He’s Adorable”: Representations of People with Dwarfism in Family Guy." Canadian Journal of Disability Studies 10, no. 3 (2021): 44–68. http://dx.doi.org/10.15353/cjds.v10i3.815.
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 This paper examines how people with dwarfism1 are represented in the American animated sitcom Family Guy. Using autocritical discourse analysis, this paper reflects on my own response, as a person with dwarfism, to scenes featuring characters with dwarfism. Whilst the show has been criticised for its controversial humour, this paper argues that the show actually exposes negative social attitudes that people with dwarfism encounter from other members of the public while refraining from encouraging stereotypes of dwarfism. The paper builds upon Fink’s (2013) suggestion that animated comedies are a source of both humour and social commentary. This paper suggests that Family Guy has the potential to challenge social attitudes towards people with dwarfism and the way they are perceived in society through directing the humour towards those who mock them as opposed to those with dwarfism. However, how the scenes are interpreted depends on the audience, which can be related to Hall’s (1993) reception theory.
 
 
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Nachlieli, Talli. "Co-facilitation of study groups around animated scenes: the discourse of a moderator and a researcher." ZDM 43, no. 1 (2011): 53–64. http://dx.doi.org/10.1007/s11858-010-0305-2.
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Suneetha, A., and Vasudha Nagaraj. "Dealing with Domestic Violence towards Complicating the Rights Discourse." Indian Journal of Gender Studies 17, no. 3 (2010): 451–78. http://dx.doi.org/10.1177/097152151001700307.
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The discourse on domestic violence in India is animated by the language of rights and empowerment in which domestic violence is seen as the condition that needs to be overcome. It imagines the women facing violence as would-be citizen-subjects, who can actualise their right against violence once the law and institutions are set in order. Inadequate institutionalisation of right against violence and inadequate individuation of women are understood to be the major problems here. In this article, we problematise these two assumptions by taking a close look at women’s interface with public institutions in the context of domestic violence. One, we point to the resources women need to mobilise in the family and community to actualise their right against this violence; two we argue that institutionalisation of this right has led to women being subject to governmental mode of power and three, we discuss the actual deployment of this right in everyday activism as a political goal, than a guarantee against violence. We suggest that a critical consideration of the working of this ‘right’ is required to understand the changing contours of women’s battles with this violence in the post-1990 period.
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Tenzek, Kelly E., and Bonnie M. Nickels. "End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation." OMEGA - Journal of Death and Dying 80, no. 1 (2017): 49–68. http://dx.doi.org/10.1177/0030222817726258.
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This study expanded upon previous scholarship by examining end-of-life (EOL) depictions and messages of death within Disney and Pixar animated films. We argue Disney and Pixar depictions of EOL and death can provide critical opportunities for discussing death and dying processes with children and adults alike. A content analysis of 57 movies resulted in a total of 71 character deaths. These instances of death became the discourse used for analysis. The EOL discourse was coded based on five categories (character status, depiction of death, death status, emotional reaction, and causality). After quantitative analysis, the films were qualitatively analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL, intentions to kill, and transformation and spiritual connection. Discussion of results, limitations, and directions for future research are included.
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Shah, Syed Kazim, Aniqa Riaz, and Asim Aqeel. "The Politics of Innocence: A Semiotic Analysis of the Pakistani Animated Cartoon Series Burka Avenger." International Journal of Applied Linguistics and English Literature 9, no. 5 (2020): 40. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.5p.40.
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The animated cartoons occupy a significant part of a child’s upbringing, but its contents can be considered debatable. Though parents prefer such animations which can protect their children from potentially harmful awkward images in the media, yet the examination of their content has so far been limited. The analysis of media texts is closely connected with the actual problem of demonstration in children’s animated cartoons and movies that not only contribute to the development of children’s imagination, the formation of the child’s ideas about moral values and the surrounding world, but also cause irreparable harm to the fragile child’s psyche. The purpose of this research is to investigate the manipulation of various concepts in the Pakistani animated cartoon series Burka Avenger. This study draws upon Roland Barthes’ (1957) semiotic theory for deeper understanding of the meanings, conveyed by the selected images. Moreover, Norman Fairclough’s (1989) three dimensional model of critical discourse analysis (CDA) is used for deeper understanding of the socio-cognitive effects of the concerned text (images). This research will help parents to be careful while choosing the media contents to be shown to their kids. It will also be a source of realization for the Pakistani producers and directors of kids’ contents, that they should play their role positively for nurturing our future generation instead of preferring their personal benefits only.
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Nufiar, Nufiar. "RELASI MASYARAKAT KAMPUS: SOSIAL ATAU INTELEKTUAL." Jurnal Ilmiah Islam Futura 7, no. 1 (2018): 86. http://dx.doi.org/10.22373/jiif.v7i1.3057.
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In science tradition, usually, the relation of latent instructing in profetik-akademic doesn’t emerging off hand. He (she) must be woke up when needed given by opportunity which berkelindan as presentation of domination of self and increasing of quality. Hence, campus institute which is one of icon is place of accomodating various place meeting of antar-pikiran, and not meeting of antar-pribadi. Because, patron such a science, part of practice of idea discourse to be being animated in area of which" holy", even also as infinite intellectual reaction.
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Rahayu, Mundi, Irwan Abdullah, and Wening Udasmoro. "“ALADDIN” FROM ARABIAN NIGHTS TO DISNEY: THE CHANGE OF DISCOURSE AND IDEOLOGY." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 10, no. 1 (2015): 24. http://dx.doi.org/10.18860/ling.v10i1.3030.
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This study compares the folktale “The Story of Aladdin and the Wonderful Lamp” from the Arabian Nights, and the animated film produced by Walt Disney Feature Animation under the title “Aladdin” (1992). The differences of those two stories in two different medias shows the shifts of ideology and discourse. The study applies Fairclough’s Critical Discourse Analysis, by applying the three stages of analysis. The first level is micro level, on the language practice. In the second level, mezo level, discusses the discourse practice that covers the intertextuality of ideas, concept as the reference in delivering the ideas. In the third level, macro level, it interprets the social context of particular events, especially the social practice in exercising their power. The finding shows that the Disney’s Aladdin campaigns ideology that refers to the American values such as freedom and American heroism. Besides, the discourse of Arab barbarism is developed in line with the practice of stereotyping such as labeling the Arab people as barbaric, bad, silly and wicked as well as dangerous Arabs. These imply to the removals of the Islamic messages and values that exists in the original tales of Arabian Nights. The Disney’s Aladdin completely removes the Islamic messages and values, and changes them into ‘American values’.
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Cambre, Maria-Carolina, and Christine Lavrence. "How Else Would You Take a Photo? #SelfieAmbivalence." Cultural Sociology 13, no. 4 (2019): 503–24. http://dx.doi.org/10.1177/1749975519855502.
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Popular discourse describing selfies as the “narcissistic”2 practice of teenagers or a tool of personal empowerment, minimize the structural constraints under which selfies operate as a ubiquitous mode of sociality. Based on focus group discussions in two Canadian cities, we explore how young adults describe their selfie experiences and explore three discursive tensions expressed in the transcripts. First, how questions of “control” were taken up; second, how “visibility” was understood as fragile, and animated by an anxiety of invisibility; third, the nature of “fun” that selfies generate. We conclude by exploring some of the epistemological shifts that these practices indicate.
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Gill, Patrick. "Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle." Porównania 25 (December 15, 2019): 145–56. http://dx.doi.org/10.14746/por.2019.2.9.
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The story of Robinson Crusoe comes to us in the guise of a first-person narrative based in part on a diary. Successor texts have traditionally adopted the same narrative situation, exploiting it in order to foreground ideas of authorship, textual authority and linguistic dominance. This essay pays particularly close attention to those Robinsonades that have not followed this pattern and have instead opted to omit meta-narration and intradiegetic narrator figures. It considers to what ends this is done in three modern Robinsonades: William Golding’s Lord of the Flies (1954), J. G. Ballard’s Concrete Island (1974), and Michael Dudok de Wit’s animated film The Red Turtle (2016).
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Offermann, Stefan. "“Now even Television is Promoting Health?” On the Intertwined History of Television and Cardiovascular Disease Prevention in the German Democratic Republic, 1950s–1970s." Gesnerus 76, no. 2 (2019): 247–78. http://dx.doi.org/10.24894/gesn-en.2019.76012.
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This paper argues that the historical trajectories of television and cardiovascular disease prevention in the German Democratic Republic are interlocking. These diseases were largely understood as caused by an unhealthy modern lifestyle. Healthcare experts were convinced that health education was an effective strategy to persuade the population to follow a healthy lifestyle. With its rise as a new mass medium, health educators increasingly relied on television as a means to put their message across. Yet the new medium itself was a target of health education measures as excessive TV consumption was considered a potential threat to cardiovascular health. This article deals with the history of health-related problematizations of TV consumption. In the 1950s and early 1960s, during an animated discourse on the strain of a modern lifestyle television was considered a potential source of overstimulation of the nervous system. As this article argues, this interpretation was undermined by a modified concept of TV consumption within the discourse of empirical audience research.
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King, Kyle R. "The Spirituality of Sport and the Role of the Athlete in the Tennis Essays of David Foster Wallace." Communication & Sport 6, no. 2 (2016): 219–38. http://dx.doi.org/10.1177/2167479516680190.
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The well-known novelist and creative writer David Foster Wallace (1962–2008) belongs to a select group of “occasional sportswriters” whose writings about sport have influenced cultural discourse about tennis and animated future sports writing. Wallace uses three rhetorical tactics—providing knowledge to the reader as confidant, making meaning out of the athletic cliché, and translating the form of professional tennis into prose—that establish his cultural authority on tennis while positioning the athlete as a transcendent spiritual practitioner. This characterization redefines dominant understandings of the athlete’s relationship to religion and the spectator’s relationship to the athlete, while discarding the possibility of recognizing the athlete as citizen.
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Wildermuth, Andrew. "Measured Life: Making Live, the “Modern System of Science,” and the Animated Bodies of Frankenstein." Zeitschrift für Anglistik und Amerikanistik 69, no. 4 (2021): 331–48. http://dx.doi.org/10.1515/zaa-2021-2028.
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Abstract This article considers Mary Shelley’s novel Frankenstein through what Sara Guyer calls “biopoetics,” hybridizing biopolitical and romantic reading strategies, and positing that romantic writing arises in temporal, theoretical, and political parallel with the movement of power from the reign of the sovereign to the realm of biopower. I focus on how Frankenstein imagines the flesh of Victor as animated and directed forward through biopower, by way of the novel’s juxtaposed medico-scientific and romantic discourse of life. Through close readings of the creation scene and Victor’s final breaths aboard Walton’s exploratory Arctic ship, I conclude that Frankenstein at last offers itself both as artifact and archaeology of modern power—or what Guyer calls “literature as a form of biopower.”
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Xiao, Xinyao, and Yumiao Bao. "Ovid’s debut in Chinese: translating the Ars amatoria into the Republican discourse of love." Classical Receptions Journal 12, no. 2 (2020): 231–47. http://dx.doi.org/10.1093/crj/clz028.
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Abstract The first complete Chinese translation of Ovid’s poem was Dai Wangshu’s (1905–50) 1929 Ai jing (Ars amatoria). Dai, as translator-cum-publisher, produced a serious translation with thorough footnotes and a scholarly preface (later added). Yet in a newspaper advertisement, he also marketed the book in sensational language as a pragmatic love manual that could help Chinese ‘men and women of sentiment’ master the art of courting. Focusing on Dai’s seemingly conflicting marketing approaches, this article locates the production and reception of Dai’s translation of the Ars amatoria in its socio-cultural and ideological contexts. Dai adapted his Chinese Ars amatoria to an emerging Chinese discourse of love in the 1920s, when love remained at the centre of many literary, social, and political debates. It also further demonstrates how Ovid’s Ars amatoria, in Dai’s translation, animated sustained discussions of love, marriage, and gender in China in the early 1930s. Re-interpreted and re-appropriated, a classic Latin text extended Republican China’s quest for modernization and Westernization to the most intimate realms of ordinary experience.
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Priori, Andrea. "Young people first! The multiple inscriptions of a generational discourse of Muslimness among Italian-Bangladeshi youths." Migration Letters 18, no. 1 (2021): 97–109. http://dx.doi.org/10.33182/ml.v18i1.1058.
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‘Our parents couldn’t teach us the true meaning of what spirituality and faith can be!’. This assertion, made by a 24-year-old youth, epitomises the critical stance of a group of young Italian-Bangladeshi Muslims towards the religiosity oftheir former generation. Based on ethnographic research in Rome (Italy), this article illustrates the apparently oxymoroniccharacteristics of a discourse of Muslimness which, despite stressing the importance of a return to the primary sources ofIslam, combines this attitude with a peculiar emphasis on ‘integration’. I will show how this counter-intuitive combinationis not only inspired by a scholarly concept of ‘European Islam’, but first and foremost it is grounded in the concrete lifeconditions of youths who are both well placed within the Italian society and animated by religious zeal. In this way, I seekto shed light on the mutual entanglement of religious stances and life experiences, and to point up the limits of‘exceptionalist’ and ‘literalist’ approaches to the study of Islam.
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Darta, Deta Maria Sri, and Diah Kristina. "THE REPRESENTATION OF WOMEN CHARACTERS IN THE MOVIE THE BREADWINNER." International Journal of Humanity Studies (IJHS) 2, no. 1 (2018): 42–50. http://dx.doi.org/10.24071/ijhs.v2i1.1524.
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This article would like to present how women were defined in the movie, both by male and female characters. Mills (1998) provides a tool to help the readers understanding the style of a writer through her choices of words, sentences, and even in the discourse level. A novel based movie which won and was nominated in several awards, The Breadwinner, was full of portrayal of women in the setting of Afghanistan under the Taliban rule. The tragic story was beautifully wrapped under the animated movie produced to show the real picture towards the world. The data are in the form of words, sentences and discourse spoken by male and female characters that represent the depiction of women. The data obtained are examined with the view of Sara Mills theory. It is found that in the movie, the women are represented as two opposing aspects: women representation as an object of man domination,and women as the subject who is able to speak out her mind and to decide independently.DOI: https://doi.org/10.24071/ijhs.2018.020105
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Schlottmann, Antje. "Closed Spaces: Can't Live with Them, Can't Live without Them." Environment and Planning D: Society and Space 26, no. 5 (2008): 823–41. http://dx.doi.org/10.1068/d0706.
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Spatial assumptions, mostly taken for granted in mediated and face-to-face language use, both represent and constitute social reality. How, though, do their hidden logics work in detail? What are their respective imaginative effects and functions? And, in view of their involvement in discourses of discrimination, are they dispensable? By using the press coverage of the German reunification as a case study, I discuss the social embeddedness and maintenance of fairly traditional spatial concepts in general, and the Euclidean ‘container concept’ in particular on a theoretical level. In everyday social practice, it is argued, these concepts have both constraining and enabling implications. Their constitutive dimension, however, is often neglected in recent critical discourse animated by ‘new’ spatial imaginations such as flows, networks, folds, or rhizomes. In this respect, I argue that everyday ‘containerization’ surely (over)simplifies contingency and complexity. Yet, the ‘closed spaces’ still remain reasonable and to a certain extent, indispensable tools for making the world intelligible by identifying, organizing, and structuring complex phenomena. Hence, instead of only searching for new and ‘more adequate’ spatial representations, the everyday use of the ‘old’ ones should also remain a subject of thorough sociogeographic inquiry.
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García, Carlos E. "Exploring the Use of Animation Software with Young Bilingual Students Learning Science." Journal of Educational Computing Research 19, no. 3 (1998): 247–67. http://dx.doi.org/10.2190/tw8d-h8wm-8unv-eeva.
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This study investigates those practices associated with the design, creation, and revision of animated models that tell a science story. It reveals information about how animation software assists young bilingual children in science learning. The article argues that bilingual children benefit from the ability of animation software to displace and reassemble spatial and temporal relations in science (with the effect of shaping language). Evidence that animation software displaces and reassembles knowledge in science is exposed by 1) having accessibility to different worlds, 2) the capacity to manipulate science concepts, and 3) connecting structure and sequence to function. The study suggests that this type of visual displacement and reassembling is a starting point for the development of science discourse in English among bilingual children.
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Longenecker, Bruce W. "The Narrative Approach To Paul: an Early Retrospective." Currents in Biblical Research 1, no. 1 (2002): 88–111. http://dx.doi.org/10.1177/1476993x0200100105.
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An interest in 'narrative' has progressively been incorporated into recent scholarship on Paul and his letters. In this enterprise, scholars interest themselves not only in the 'surface level' of a Pauline letter but also in what lies 'beneath the surface'—imagining Paul's letters to be both animated and constrained by a narrative theology that comes to expression in Paul's theological discourse. Interest in the narrative dimension of Paul's thought has arisen in relation to several contributing influences within the theologi cal disciplines—influences both within and beyond the discipline of Pauline studies itself. This article outlines some ways in which 'narrative' is becom ing a key tool in studies of Paul's theology and letters, and suggests four factors behind the rise in this interesting enterprise.
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Migorian, Olga, and Daria Berestiuk. "Features of functioning American youth slang (based on the American animated series The Simpsons)." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 822 (2020): 155–63. http://dx.doi.org/10.31861/gph2020.822.155-163.
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The article studies the functions of slang and carries out the analysis of the peculiarities of youth slang functions in the context. The author deals with the notion of slang, its classification, and functioning. The article aims to single out main functions performed by the examples of youth slang and differentiate them into sections. The subject of our study is American slang, and the object is the functioning of American youth slang in film discourse. The material of the study is a slang samples from the scripts of five episodes of the 30th season of the American animated series The Simpsons. The sampling criterion was the use of a language unit in one or more available contexts. As a result, we selected 50 slangisms recorded by such dictionaries as Green's Dictionary of Slang, Slang Define, and The Online Slang Dictionary. The material and objectives of the study led to the use of an interpretation method to determine the functions of examples of American youth slang in the context of its use. As a result we distinguished 10 slang functions: expression of belonging to a certain sphere of activity, originality, positive and negative selection from the crowd, adequate perception in the team, enhancement of friendly atmosphere, conciseness, concretization, transmission of confidential information, diversity of language, and emotionality. The analysis showed that the most commonly used function of American youth slang is the tenth one expressing emotionality, 15 examples out of 50 stand for 30%, and the least used is the eight function, the transmission of confidential information, non-sampled, 0 examples stands for 0%.
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Marini-Maio, Nicoletta, and Ellen Nerenberg. "The 'angelification' of girls: Winx Club as a neo-liberal Catholic project." Journal of Italian Cinema & Media Studies 8, no. 1 (2020): 23–41. http://dx.doi.org/10.1386/jicms_00003_1.
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Abstract This article examines and contextualizes the socio-economic model and values system from which the transmedial, transnational text that we call the Winx Project derives and in which it is produced. The Winx Project centres on an animated television series for girls and tweens, Winx Club, produced in Italy and distributed in 150 countries worldwide, but includes spin-off television formats, films, live and interactive entertainments, an amusement park and merchandising and fashion to compose a multifaceted, multiple 'text'. This plural text is employed to measure the functionality of the Winx Club within a global and transnationalized discourse of neo-liberal economics on the one hand and, on the other, a local context that reaches deep into the regional character of Social Catholicism to purvey on a global scale its ethics and values system.