Contents
Academic literature on the topic 'Little Critter (Fictional character)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Little Critter (Fictional character).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Little Critter (Fictional character)"
1
McDonald, Jared, and Jaclyn Piatak. "Penalties for Going Against Type: How Sexism Shapes Voters’ Perceptions of Candidate Character." Behavioral Science & Policy 8, no. 2 (October 2022): 47–56. http://dx.doi.org/10.1177/237946152200800205.
Full textAbstract:
Although women are increasingly represented in elected office, little is known about how a female candidate's gender influences voter approval when her messaging emphasizes her strong leadership ability—a character trait generally regarded as masculine. Drawing from theories of social cognition and gender stereotypes, we examine in this article how citizens react to male and female politicians who emphasize particular character traits. After synthesizing relevant literature, we report on a study conducted to see whether women lose public support for emphasizing their leadership ability—thus “going against type.” In a survey of more than 800 American adults, we found that respondents penalized a fictional woman running for Congress when her messaging to voters emphasized the core character trait of leadership, as opposed to compassion (a trait traditionally associated with women) or no character trait at all. In contrast, respondents viewed a fictional man more favorably when his messaging to voters went against type by highlighting compassion than when he emphasized leadership. These findings suggest that female candidates have fewer options than men do when selecting which personal characteristics to present in their messaging to gain the approval of the voting public. This result underscores the need for policies and programs that promote female leadership in all walks of life, thereby leading the public to associate leadership skill with both genders equally.
2
Abraham, Anna, D. Yves von Cramon, and Ricarda I. Schubotz. "Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality." Journal of Cognitive Neuroscience 20, no. 6 (June 2008): 965–76. http://dx.doi.org/10.1162/jocn.2008.20059.
Full textAbstract:
A considerable part of our lives is spent engaging in the entertaining worlds of fiction that are accessible through media such as books and television. Little is known, however, about how we are able to readily understand that fictional events are distinct from those occurring within our real world. The present functional imaging study explored the brain correlates underlying such abilities by having participants make judgments about the possibility of different scenarios involving either real or fictional characters being true, given the reality of our world. The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures. When the scenarios involved real people, brain regions associated with episodic memory retrieval and self-referential thinking, the anterior prefrontal cortex and the precuneus/posterior cingulate, were more active. In contrast, areas along the left lateral inferior frontal gyrus, associated with semantic memory retrieval, were implicated for scenarios with fictional characters. This implies that there is a fine distinction in the manner in which conceptual information concerning real persons in contrast to fictional characters is represented. In general terms, the findings suggest that fiction relative to reality tends to be represented in more factual terms, whereas our representations of reality relative to fiction are colored by personal subjectivity. What modulates our understanding of the relative difference between reality and fiction seems to be whether such character-type information is coded in self-relevant terms or not.
3
Soto-Rincón, Carlos A., Sergio A. Castillo-Torres, Diego A. Cantú-García, Ingrid Estrada-Bellmann, Beatriz Chávez-Luévanos, and Alejandro Marfil. "The poor insane Ophelia: reconsidering Ophelia syndrome." Arquivos de Neuro-Psiquiatria 77, no. 11 (November 2019): 828–31. http://dx.doi.org/10.1590/0004-282x20190105.
Full textAbstract:
ABSTRACT The association between memory loss and Hodgkin's lymphoma has been given the eponym of Ophelia syndrome, in memory of Shakespeare's character in The Tragedy of Hamlet, Prince of Denmark. Nevertheless, there are differences between the disease and the character. Objective: To review the origins and uses of the eponym through an original article by pathologist Ian Carr, its relation to the character Ophelia, and the related autoantibodies. Methods: Historical narrative review. Results: Besides an eloquent description in the original article, Carr presaged the presence of autoantibodies, before they had been thoroughly researched. Since then, five different autoantibodies (mGluR5, Hu, NMDAR, SOX, PCA2) have been associated with Hodgkin's disease. It is interesting to note the divergent outcomes of Shakespeare's character and the patient in the original description by Carr, the latter recovering to lead a normal life, and the former deceased. Conclusions: Although there is little relationship between the fictional character and the syndrome, both imply the unintentional trigger of self-harm (suicide in one case, autoimmunity in the other), thus remaining associated.
4
Wright, Matthew. "The scripted audience in Roman comedy." Trends in Classics 16, no. 1 (July 1, 2024): 144–69. http://dx.doi.org/10.1515/tc-2024-0006.
Full textAbstract:
Abstract Despite the prevalence of audience-centred drama criticism, very little is actually known about the composition or nature of theatre audiences in antiquity. Metatheatrical passages in Plautus’ and Terence’s comedies in which the audience is described or addressed are usually treated as historical evidence for real-life theatre audiences in Republican Rome. This article argues that it is preferable to treat the comic audience as a fictional character. The scripted audience is recurrently portrayed by the comedians in a far-fetched and anti-realistic manner: it can be treated as a stereotype, along the other ‘stock’ characters of Roman comedy.
5
Szűcs, Orsolya. "Ireland and the Balkans Conflict in Edna O’Brien’s The Little Red Chairs." Acta Universitatis Sapientiae, Philologica 12, no. 1 (October 1, 2020): 110–23. http://dx.doi.org/10.2478/ausp-2020-0009.
Full textAbstract:
Abstract History has always been a major critical exploration point in Edna O’Brien’s works. Notable for its realistic Irish specificity, her fiction interrogates problems of history, memory, and society with an audacious awareness. In her 2015 novel, The Little Red Chairs, O’Brien goes beyond the familiar Irish cultural context and creates a propitious alternative life-story for Radovan Karadžić, a Serbian war criminal from the Balkans conflict of the 1990s. Attending closely to the novel’s factual-fictional narrative strategies and its visceral language, this essay explores how O’Brien combines stereotypical elements from the Irish contemporary reality with Eastern European sagas as well as history to then create a compelling humanitarian plotline. The novel has a particular rendering of natural elements that act as a mnemonic witness device. The essay also looks at how the landscape functions as a reflective tool, often acting as a separate “character” of the narrative.
6
Rebel, G. M. "THE ENCHANTED WANDERER BY LEONID YUZEFOVICH." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 620–27. http://dx.doi.org/10.35634/2412-9534-2021-31-3-620-627.
Full textAbstract:
The article analyzes the novel “Philellin” by L.A. Yuzefovich, the main attention is paid to the method of narration, the system of characters, the typological characteristics of the main character and the genre features of the work. The novel is a collection of documents of different genres, which together form a story about the events of the liberation war in Greece in the 20s of the XIX century. Almost all of Yuzefovich's characters act simultaneously as subjects of the narrative and participants in the events. The exception is Alexander I, because he is “silent” (his point of view is broadcast by his secretary Yelovsky) and "inactive". Despite the importance of the figure of the Russian emperor in the plot of the novel, for these reasons, Alexander “gives way” to the place of the main character to a fictional character - Grigory Mossepanov, whose fate forms the plot outline of the novel. Mossepanov is not only an important participant in the events, but also one of the main subjects and objects of the narrative. In literary criticism, the hero is given typological definitions of Don Quixote, Petrushka, “a little man”. This article offers a more appropriate definition of the character and fate of Mossepanov - “enchanted wanderer”, which is confirmed by the comparison of the characters of L. Yuzefovich and N. Leskov. The key plot role of the Russian philhellene, the peculiarities of his character and fate largely determine the genre nature of the work as a historical and mythological novel.
7
Bodenheimer, Rosemarie. "GEORGE ELIOT'S LAST STAND: IMPRESSIONS OF THEOPHRASTUS SUCH." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 607–21. http://dx.doi.org/10.1017/s1060150316000036.
Full textAbstract:
Let's face it:Impressionsof Theophrastus Such can be a pretty dreary book. It's all too easy to put it down, especially if you happen to be in the middle of a particularly heavy-handed passage in “The Watch-Dog of Knowledge” or “Debasing the Moral Currency.” Some early readers felt that the real George Eliot had abandoned them in her final publication by ceasing to write fiction, while recent critics have gone to some lengths to show that the narrator, allegedly a minimally published bachelor named Theophrastus Such, is a self-reflexive fictional character whose failings and contradictions are the real subject of the book.1 Who is Theophrastus Such? What is his ethical, political, or scientific orientation? How does his character emerge during the course of the volume? These are questions that have occupied recent critical dialogue. In response, I find myself harboring some sympathy for George Saintsbury, who reviewed Impressions in the Academy of 28 June 1879: . . .we feel that there is either too much or too little of Mr Such. The essayist who wishes to utter his opinions through the mouth of a feigned personage must give him at least something of a body for our thoughts to take hold of. Mr Such is little more than a disembodied shadow with a name attached to it, and this being the case we feel that we could do without his shadow and his name altogether. (qtd. in Hutchinson 429–30)
8
Jain, Aditya, and Dr Anshu Raj Purohit. "Female characters in the novels of R. K. Narayan." International Journal of Multidisciplinary Research Configuration 4, no. 1 (January 28, 2024): 27–37. http://dx.doi.org/10.52984/ijomrc4103.
Full textAbstract:
R.K. Narayan is considered one of the most eminent Indian authors in the English language. Narayan mostly focuses on portraying middle-class folks from Malgudi, a fictional location he created in South India. His writings feature a diverse array of male and female characters. Within each of his novels, there exists a female character that holds a significant role in the narrative. Rosie, in The Guide, is one such female character. She embodies a contemporary woman who is well-educated and driven, who aspires to achieve financial independence based on her own preferences and abilities, despite facing significant sacrifices. Raju's mother and Velan's sister are among the other female characters depicted in the story. Raju's mother embodies the conservative and orthodox ladies who adhere to tradition and culture. She is a conscientious spouse and an affectionate parent. She provides guidance to both Raju and Rosie regarding moral principles and ethical conduct. However, if her advice is ignored, she departs from her residence and accompanies her brother to reside with him. Velan's sister has a little yet significant part in the narrative, as her presence contributes to portraying Raju as a saintly figure. This research aims to investigate this particular component of R.K. in a modest manner. The characterisation of Narayan. Keywords: The role of women, fiction, family, stories, novels, general literature
9
Thong, Kenny Gian, and Nugraheni Widianingtyas. "Analysis of Nero’s Insecurities in the Devil May Cry Series." English Language and Education Spectrum 3, no. 2 (July 28, 2023): 24–38. http://dx.doi.org/10.53416/electrum.v3i2.148.
Full textAbstract:
In the entirety of human life, the feeling of insecurity has always occurred, even in fictional works. However, little is known about the study of insecurity in a character in a video game series. Therefore, this study is to analyze the insecurity of Nero, a protagonist of the Devil May Cry series gives insights on what are the causes and the types of his insecurities, and finds the true nature of Nero’s insecurity and how he deals with it. Data for the study comprised psychological research on insecurity and its causes, as well as the story of Nero. The data were transcribed and analyzed in qualitative research. The findings revealed that Nero developed his insecurities ever since he was left alone at the orphanage doorstep, being bullied by other children, the death of his adoptive brother, and being insulted by his mentor. As such, Nero develops the tendencies of being impulsive and brash whenever people he loved are in danger, as well as being arrogant and rebellious. The study also revealed that in order to deal with his insecurities, Nero seeks more power and validation that he is indeed capable of saving other people, and he is not powerless.
10
Sukhrob, Muminov. "THE IMAGE OF A RUSSIAN INTELLECTUAL IN IMMIGRATION IN THE WORK OF S. DOVLATOV." European International Journal of Multidisciplinary Research and Management Studies 02, no. 11 (November 1, 2022): 184–87. http://dx.doi.org/10.55640/eijmrms-02-11-42.
Full textAbstract:
The primary meaning of a work of art is the personality of the author. Especially if it uses autobiographical material. Sergei Dovlatov (1941-1990) is a special case in this respect. Just as in the mysterious drawing by Maurice Escher two hands draw each other, the writer Dovlatov and the character Dovlatov are interdependent. Which does not mean they are the same. Those who knew him from books seemed to know him. Those who knew him in life understood that they knew him little. A great hoaxer, he knew how to bring the surrounding reality into an unstable state. All the facts in his biography are inaccurate, ambiguous, unclear. This should be remembered when reading his books - almost confessional in form, but mostly fictional in content. In the gravitational field around Dovlatov, reality is distorted, losing its authenticity. However, before getting personal, it would be good to understand the criteria. Humanistic pathos, characteristic of all world literature, can be called the justification of man. How is a person judged by people? The scale for assessing the social significance of each of us is located between two generalizing definitions: a big man and a small man. The megalomania inherent in Russian sovereignty recognized only statesmen as great people. So the tsarist censor was outraged by the inappropriate respect for the personality of Pushkin, expressed in his obituary: what importance can there be in a poet - especially such that he did not glorify sovereign power, but called for mercy for the fallen. It was on the question of the place of man in Russian reality that the state and society diverged in the most decisive way. Russian literature turned its face away from the mighty of this world and turned its heart to poor people, the poor, the unfortunate. Outsiders, seen through the magic crystal of art, turn out to be real people, and the masters of life - existential impostors. The end-to-end character of Dovlatov's prose, the author's alter ego, is a little man... in a country made up of dwarfs. This is the first surprise that confuses our minds: a big little man. It is generally accepted that the main pathos of Dovlatov's work is condescension to human weakness.
Books on the topic "Little Critter (Fictional character)"
6
Mayer, Mercer. Little Critter's little sister's birthday. New York: Western Pub. Co., 1988.
Find full textBook chapters on the topic "Little Critter (Fictional character)"
1
McDonald, Paula. "Using patient narratives as source material for creative writing." In Illness Narratives in Practice: Potentials and Challenges of Using Narratives in Health-related Contexts, edited by Alexander Kiss and Claudia Steiner, 163–74. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198806660.003.0014.
Full textAbstract:
Patient and carer involvement in medical education has been shown to lead to improved outcomes. There is a vast amount of online narrative material describing the lived experience of patients that could be systematically used in medical education. This chapter describes a creative writing module which encourages students to research and create a fictional character with a chronic disorder and then write about them in the new narrative genre of clinical realism. This genre is defined as ‘fictional writing where health problems are systematically represented, not as a metaphor, not as a plot point, and not as the central topic of the writing, but as a part of a character’s personal identity and day-to-day experience.’ The students reported that by writing repeatedly about the same character, they felt more empathic towards them, even if they initially felt little affinity with the character. This chapter discusses the practicalities and benefits of running the course.
2
Ryan, Susan. "Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work." In ReFocus: The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.
Full textAbstract:
In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.
3
Mitchell, Lee Clark. "Dialogue Scaffoldings." In Noir Fiction and Film, 73–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844767.003.0004.
Full textAbstract:
While this third chapter begins by focusing on the same early pioneers, it veers from inanimate descriptions to constructions of character. That is, Hammett conceived his private investigator as fundamentally figurative, the culmination of a flamboyant style expressed more or less entirely through dialogue, with the flaunting of a cool, flip, smart-assed affect. Subsequent fictional detectives likewise gain our attention by being reduced to stick-figure sketches, little more than quirky gestures and colorful banter. In contrast to other genres, where language tends to realistic transparency while character proves more substantial, detective fiction banks on the impeccable thinness of words deftly turned. Chandler grasped the implications of such seemingly superfluous configurations, with arch similes built on Hammett’s tersely sober expressions. Ever since, genre authors have embellished an ideal of self-conscious “attitude,” celebrating in the process a wry immunity to conventional civic and moral discriminations.
4
Gallese, Vittorio. "Neoteny and Social Cognition: A Neuroscientific Perspective on Embodiment." In Embodiment, Enaction, and Culture. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035552.003.0017.
Full textAbstract:
The chapter will address the notion of embodiment from a neuroscientific perspective, by emphasizing the crucial role played by bodily relations and sociality on the evolution and development of distinctive features of human cognition. The neurophysiological level of description is here accounted for in terms of bodily-formatted representations and discussed by replying to criticisms recently raised against this notion. The neuroscientific approach here proposed is critically framed and discussed against the background of the Evo-Devo focus on a little explored feature of human beings in relation to social cognition: their neotenic character. Neoteny refers to the slowed or delayed physiological and/or somatic development of an individual. Such development is largely dependent on the quantity and quality of interpersonal relationships the individual is able to establish with her/his adult peers. It is proposed that human neoteny further supports the crucial role played by embodiment, here spelled out by adopting the explanatory framework of embodied simulation, in allowing humans to engage in social relations, and make sense of others’ behaviors.This approach can fruitfully be used to shed new light onto non propositional forms of communication and social understanding and onto distinctive human forms of meaning making, like the experience of man-made fictional worlds.
5
Cumbler, John T. "Farmers, Fishers, and Sportsmen." In Reasonable Use. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195138139.003.0014.
Full textAbstract:
At the end of the nineteenth century, Edward Bellamy, one of the Connecticut River Valley’s most famous literary residents, created a fictional character who wanted to avoid “industrial existence” and instead “all day to climb these mighty hills, feeling their strength” and to “happen upon little brooks in hidden valleys.” Bellamy planned for his protagonist “to breathe all day long the forest air loaded with the perfume of the forest trees.” The wanderings of this turn-of-the-century fictitious character through thick forests and deserted hills reflects the changes engendered in the valley with the coming of industrial cities and the abandonment of hillside farms. When Bellamy was born in 1850 at Chicopee Falls in western Massachusetts, the region was in the process of deforestation and had few areas that were not intensely farmed. Yet as Bellamy himself noted in an 1890 letter to the North American Review, “the abandonment of the farm for the town” had become all too common. Deserted farms became one of the themes Bellamy sketched out in his notes for the novel. Bellamy had his character live in an “abandoned farmhouse. . . . The farmhouse was one of the thousands of deserted farms that haunted the roadsides of the sterile back districts of New England.” In viewing the depopulated countryside as a retreat from industrial existence, Bellamy’s character represented the fate of late-nineteenthand early-twentieth-century New Englanders. Increasingly, urbanized New Englanders began to look to rural areas not as sources of food or resources of necessity but as places to contemplate nature and practice fishing and hunting as sport. As rural areas, particularly on the hills and up the valleys, became less populated, farmers there lost much of their political voice. New city voices now became more important in the conversation about resource conservation. What farmers saw as abandoned and ruined farms, urban and suburban naturalists saw as rural retreats from the tensions and pollution of the cities. For these interlopers, rural New England represented a romantic ideal of a past they or their ances tors put behind them when they moved to the city.