Relevant bibliographies by topics / Puppets

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Puppets'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Puppets"

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Nurhayati, Endang, Mulyana Mulyana, Siti Mulyani, Hardiyanto Hardiyanto, and Doni Dwi Hartanto. "DINAMIKA BUDAYA PEWAYANGAN KE ARAH DUNIA REALITA DALAM WAYANG PESISIRAN." Diksi 29, no. 2 (September 27, 2021): 137–48. http://dx.doi.org/10.21831/diksi.v29i2.39762.

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(Title: The Dynamics of Puppet Culture Towards The World of Reality in Wayang Pesisiran). The world of puppetry is so attached to Javanese society where the changes of the times does not detract from the existence of puppets in Javanese people's lives. This study aims to describe the characteristics of coastal puppets and the dynamics of puppet culture towards the world of reality in coastal puppets using qualitative approaches. The data source used is a video of coastal puppets and interviews to Ki Kartono. Data is collected by means of listen, record, and interview. The data analysis used was the qualitative analysis of Miles &Huberman (1992). Based on the results of research, coastal puppet shows always begin by introducing the mission of the show and introducing the main characters in the play to be told. The cultural dynamics of puppetry towards the world of reality in coastal puppets contain at least six dynamics, namely: a) religious; b) greetings; c) the territory of the country; d) socio-cultural; e) the growth of life (kasampurnaning dumadi); and f) employment. The dynamics that occur in the world of puppetry indicates the dynamic in Javanese puppetry in an effort to continue to maintain its existence in modern times today. Keywords: cultural dynamics, the world of reality, wayang pesisiran
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Wang, Chao-Ming, and Shih-Mo Tseng. "Design and Assessment of an Interactive Role-Play System for Learning and Sustaining Traditional Glove Puppetry by Digital Technology." Applied Sciences 13, no. 8 (April 21, 2023): 5206. http://dx.doi.org/10.3390/app13085206.

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As an ancient performing art, the puppet show was popular entertainment for early civilians. However, with the advance of media technology, traditional puppetry declined gradually, and old puppets became relics displayed in museums. In this study, an interactive role-play system for learning and sustaining traditional glove puppetry is proposed. Constructed with RFID and multimedia techniques to replace the traditional static displays of puppetry, the proposed system allows in-person experiencing of operating real puppets of famous roles. Statistical analyses of the comments collected from expert interviews and the users’ answers to a questionnaire survey lead to the following findings: (1) it is easy to understand and operate the puppets as physical interfacing with the system; (2) the interactive system design conforms to the 3E indicators of easiness, effectiveness, and enjoyableness; (3) the users’ experiences of role-plays emulating experts’ puppet shows help learn the knowledge and skills of the traditional puppetry; (4) in-person operations of real puppets and experiences of RFID-based interactive interfacing bring the users feelings of pleasure and senses of achievement as puppet performers; and (5) the content designs and operations of the puppet characters can turn into a fine material for learning the traditional puppetry.
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Lisdawati, Ida. "THE SUNDANESE PUPPETS APPEARANCE AS THE REPRESENTATION OF THEIR CHARACTERS IN MAHABHARATA PLAY." Acuity : Journal of English Language Pedagogy, Literature and Culture 2, no. 1 (January 1, 2017): 1–9. http://dx.doi.org/10.35974/acuity.v2i1.593.

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This study not only aims to introduce Sundanese culture which is part of Indonesian culture, but also analyses the phenomenon that exists in Sundanese puppets performance as one of the entertainment for the Sundanese people with Semiotic. In this study, the researcher analyzed two factors that determined the result of this research. Firstly, the researcher found the role of color as a kind of pictorial metaphor. In each puppet, it will be seen whether the dominant color of puppet represents the characteristics corresponding to the color or has a significant difference. The secondly, the researcher analysed the appearance of each puppets. This research used four puppets from category of Panakawan, two puppets from category of Knight, and two puppets from category of Giant. Qualitative method is used for describing the result and the result showed that almost puppets appearance represented their character except Cepot that also known as Astrajingga. His appearance did not represent his characteristic especially his color face. Keyword Semiotics, Sundanese puppets, color of Sundanese puppetÂ
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Ayers, Shan R. "American Puppetry: Collections, History and Performance. Edited by Phyllis T. Dircks. Foreward by Steve Abrams. Jefferson, NC: McFarland, 2004; pp. vii + 326. $39.95." Theatre Survey 46, no. 2 (October 25, 2005): 351–53. http://dx.doi.org/10.1017/s0040557405400204.

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American Puppetry: Collections, History and Performance, edited by Phyllis T. Dircks, is a valuable collection of essays on the state of puppet theatre in America and useful documentations of extant collections that will serve puppeteers. Dircks identifies the need for this work in her introduction when she, rightly, comments that “[f]ortunately, thousands of puppets from various cultures and many time periods have been collected by scholars, enthusiasts and curators, who wisely realized that these material images can teach us much about the society for which they were crafted” (4). Her careful and thorough collection chronicles the well-known, such as Bread and Puppet, the Muppets, and Howdy Doody, as well as the lesser-known facts in the field of puppetry—for example, Peter Arnott's use of puppets to stage plays from classical dramatic literature. The volume is also up to date; the work of Julie Taymor is discussed for its fusion of human performers with the surreal and for its highly imaginative puppet creations.
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McCormick, John. "Dramaturgy for the puppet theatre yesterday and today." Dramaturgias, no. 16 (April 13, 2021): 16–29. http://dx.doi.org/10.26512/dramaturgias16.37472.

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Until the twentieth century notions of dramaturgy were closely bound up with the Poetics of Aristotle, often leaving out of account less ‘regular’ forms from Shakespeare to the melodrama. From the 17th to the 19th century live actors and puppets could be virtually interchangeable, performing the same or similar repertoires. Adaptation of plays from the actors’ theatre was the general rule. Comparatively few authors wrote directly for the puppet stage, and when they did it was usually under special circumstances. In the nineteenth century a juvenile market began to grow, Two main streams in European puppet theatre are: 1. puppets used in conjunction with story-telling and 2. puppets as substitutes for the live actor. The fact that the puppet is usually a small humanoid figure means that it has always been a valuable vehicle for parody and satire. The theatrical avant-garde that came onto existence in the late 19th century had an enormous impact on puppetry and the direct links between the puppet and the human began to disappear. Gordon Craig’s idea of the complete man of the theatre, which led to the modern one of the director, changed the whole concept of the puppeteer who ceased to be a mere operative becoming instead a creative artist in his or her own right. Increased exposure to other artistic forms, notably the visual arts, also resulted in an increasing divergence of puppetry from mainstream theatre and eventually the puppet theatre, instead of following the actors’ theatre, has come to be a leader in contemporary experimental and alternative theatre.
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-, Suyanto, and Aris Setiawan. "Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value." Mudra Jurnal Seni Budaya 37, no. 4 (October 17, 2022): 358–67. http://dx.doi.org/10.31091/mudra.v37i4.2049.

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This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.
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Fisher, Emma. "The symbiotic relationship between puppetry and disability: The emergence of a strong contemporary visual language." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 15–28. http://dx.doi.org/10.1386/jaah_00015_1.

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This article will discuss how the puppet’s body is the perfect vessel to reclaim the voices of those that have been ‘othered’.1 It examines the history of the fractured puppet and the emergence of disability-affirmative puppet theatre in the twenty-first century, exploring the puppet’s ability to fracture, reform and move in new and exciting ways that allow different approaches of expression; these seek to challenge how the body, the puppeteer and the puppet are viewed. I will examine how puppet plays, A Square World, Meet Fred, The Iron Man and my own show Pupa, represent disability through puppets’ bodies in new and interesting ways. Through the use of the puppet’s body, these shows seek to shine a light on the absurdity of an exclusive world and make us question the cultural constructions around the disabled and puppet body.
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Hadiprayitno, Kasidi. "Estetika Wayang." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 31–39. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a282.

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The basics are the puppet aesthetic perspective of the relation elements of beauty in the unity of the structure of the wayang. Understanding the true aesthetic beauty rests on the concept of thought that developed and followed by Western thinkers, however, in the operatate of implemeta- tion still refer to terms that are known in the art of traditional puppet convention. Not all data in the beauty of the puppets can be presented in this short article, but limited to the aspects of beauty essentials only such convention and modernity in the universe puppet, puppet or convention in the art of puppetry, in the currency of view of the puppet, and aesthetic concepts in art puppetry and puppetry.
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Platz, William. "Drawing with numb hands: Dexterity and draughtspuppets." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 69–81. http://dx.doi.org/10.1386/drtp_00051_3.

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This essay is part of a wider research project that has introduced puppets into the drawing studio. Puppets are odd operators, and this is an unorthodox approach to drawing research. In this case, eccentricity is appropriate given that orthodoxies of skilfulness and good drawing are the subject of investigation. Unlike other contemporary practices that utilize puppetry as subject matter, motif and narrative device, this project invites draughtspuppets to make drawings. These draughtspuppets are distinct from automata and other drawing machines, and these distinctions are outlined. The paper focuses on the virtue and value of dexterity. In drawing and in puppet manipulation, dexterity brings scrutiny to the hands as the primary site of action and queries the relationship between ‘good hands’ and ‘good drawing’. The text begins by connecting traditions of dexterity, manipulation, drawing and puppetry before delving into the essence of puppets – their animism and (semi-)autonomy – and the tacit implications of dextrous hands. This article asks the question: can puppet ontologies expose the value of dexterity as a procedural component of (good) drawing? Connecting a range of puppet scholarship, the author’s interactions with the draughtspuppets and over 25 years of teaching experience, this article finally argues for the productive capacity of draughtspuppets to transform orthodox beliefs about the tenets of dexterity and good drawing. In the final passage, the motifs present in the draughtspuppets’ recent drawings are briefly analysed and correlated with this examination.
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Helmanda, Cut Mawar, Rahmatun Nisa, and Meutia Zahara. "PUPPET MAGIC: TRANSFORMING STORYTELLING INTO ENGLISH EXCELLENCE FOR ENGLISH YOUNG LEARNERS." Proceedings of International Conference on Education 2, no. 1 (April 1, 2024): 1–9. http://dx.doi.org/10.32672/pice.v2i1.1309.

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The purpose of this project is to investigate how well puppetry works as a storytelling media for young learners, by focusing on what opinions do the students have about using puppets to present stories. knowing how puppetry functions in language learning can lead to more interesting and successful teaching strategies.This study used a qualitative way to answer the question.This research was carried out in SD Negeri 1 Muhammadiyah Banda Aceh.The writers believed that an interview was the best instrument to utilize because this study involved first-grade elementary school studentsUsing puppets as a medium takes advantage of first-graders’ receptiveness to multimodal experiences while acknowledging their developmental stage. The goal is to create a more dynamic and productive learning environment where the use of puppets stimulates students’ attention and helps them comprehend the stories that are being told.The overall perception of the young learners who involved in this study is that they enjoyed actively listening to the narrative story and closely paying attention when it incorporated media- puppet - into the story. This finding implies that it is crucial for English teachers working with young students to vary their concrete media, and using puppets is just one way to do this.
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Dissertations / Theses on the topic "Puppets"

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OLIVEIRA, EDUARDO DE ANDRADE. "PUPPET: PET PUPPETS AND OTHER DISCARDED MATERIALS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11093@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
O presente estudo trata da contribuição do designer na concepção de personagens/bonecos, tendo como principal conceito o reaproveitamento criativo de embalagens PET e outros materiais descartados. Considerando o conhecimento sobre o material como um dos principais requisitos para a realização de um produto, o que propomos aqui é uma investigação do PET na construção de bonecos. Apresentamos como o designer pode se apropriar deste material, potencialmente nocivo ao meio ambiente, e fazê-lo participar da rede de significações que envolvem a sociedade. Ao ressignificá-lo como instrumento de comunicação, ele assume um novo uso social. Em um segundo momento, tendo como visão o conceito de apropriação desenvolvido pelo historiador Roger Chartier, apresentamos o Teatro de Títeres como uma mídia que instaura significados próprios que contribuem para a apropriação do conhecimento.
This work analyzes the designer`s contribution to the creation of characters/puppets, having as main concept the creative re- use of PET bottles and other discarded materials. Based on the principle that the know-how about materials is one of the main requests for a product creation, this dissertation proposes an investigation of PET materials on the puppets` craft. It shows how the designer can appropriate of this material and make it participate in the signifying web. By resignifying the PET as a communication tool, it gives the material, potentially harmful to the environment, a new social use. In a second moment, using the concept of appropriation developed by Roger Chartier, we present the Puppet Theater as a medium to establish new meanings, which contributes to knowledge.
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Gamble, Chuck. "Shadow puppets /." Online version of thesis, 1992. http://hdl.handle.net/1850/11077.

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Maciel, Aline Razzera. "Shakespearean puppets." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/94017.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Cominicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010
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Through a study of adaptations of Shakespeare#s plays into Puppet heatre, this research explores dramatic and human body adaptations, discussing Shakespearean rewritings in a show performed with puppets, focusing on both the way the human body and Shakespeare#s dramatic body are adapted. The corpus is the play 100 Shakespeare, performed by the Brazilian company Pia Fraus, consisting of an adaptation of nine Shakespearean play-texts. The sketches selected are: Hamlet, Othello, and Titus Andronicus, since they present elements which characterize both textual and bodily adaptations. This thesis draws theoretical parameters mainly from Linda Hutcheon, who stresses that each person experiences differently the same adaptation because of his background; from Patrice Pavis, who believes that an adaptation can modify the meaning of a play; from Ana Maria Amaral, who defines puppet as an inanimate object which portrays human beings or animals, and is animated by an actor-manipulator; from Pilar Amorós and Paco Parício, who contribute to several notions regarding Puppet Theatre; from Valmor Nini Beltrame, who presents some principles of manipulation of puppets; and from Heinrich von Kleist#s ideas regarding the marionette#s superiority to human beings. Based on the identified parameters, this research points out the possibilities of considering puppets as adaptations of human body and mind, and as humanizations of Shakespearean characters, by analyzing how sketches are adapted, puppets manipulated, and characters developed.
Através de um estudo sobre adaptações de peças de Shakespeare para o Teatro de Formas Animadas, essa pesquisa explora adaptações do corpo dramático e humano, discutindo reescrituras de Shakespeare em um espetáculo representado com bonecos, enfocando a questão da adaptação do corpo humano e do corpo dramático de Shakespeare. O corpus é a peça 100 Shakespeare, representada pela Compania brasileira Pia Fraus, que consiste na adaptação de nove peças de Shakespeare para o Teatro de Formas Animadas. As esquetes selecionadas são: Hamlet, Otelo e Titus Andronicus uma vez que estas apresentam elementos que caracterizam adaptações textuais e corpóreas. Esta dissertação utiliza parametros teóricos, sobretudo, de Linda Hutcheon, que aponta que cada pessoa experiencia uma mesma adaptação diferentemente de outra por causa de sua formação; de Patrice Pavis, que acredita que uma adaptação pode modificar o significado de uma peça; de Ana Maria Amaral, que define #boneco# como objeto inanimado que retrata seres humanos ou animais e que é animado por um ator-manipulador; de Pilár Amorós e Paco Parício, que contribuem com diversas idéias a repeito do Teatro de Formas Animadas; de Valmor Nini Beltrame, que apresenta alguns princípios da manipulação de bonecos; e das idéias de Heinrich von Kleist a respeito da superioridade da marionete em relação ao serhumano. Baseando-se nos parametros identificados, esta dissertação aponta para as possibilidades de considerar os bonecos adaptações do corpo e da mente humana e humanizações de personagens Shakespeareanas, analisando como as esquetes são adaptadas, como os bonecos são manipulados e como as personagens são desenvolvidas.
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McDermott, Lydia M. "It's different with puppets." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180977676.

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Dwyer, Edward J. "Reading with Stick Puppets." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/3411.

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Zachry, Corinne. "CREATING PUPPETS THAT LIVE: AN EXPLORATION OF THEORIES AND TECHNIQUES IN MODERN PUPPETRY." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366906448.

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Taranovsky, Daniel Alexander. "Guided control of intelligent virtual puppets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ58779.pdf.

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Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.

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This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.
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Truxal, Steven James. "Puppets in chaos : airlines, regulators and strings." Thesis, University of Westminster, 2009. https://westminsterresearch.westminster.ac.uk/item/91021/puppets-in-chaos-airlines-regulators-and-strings.

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An examination of the relationships between competition and the deregulation and liberalisation of the US and European air transport sectors reveals that the structure of the air transport sector is undergoing a number of significant changes: a growing number of airlines are entering into horizontal and vertical cooperative arrangements and integration including franchising, codeshare agreements, alliances, ‘virtual mergers’ and in some cases, mergers with other airlines, groups of airlines or other complementary lines of business such as airports. The European and US regulatory approaches to these changes differ greatly. European competition policy has a very proactive, prescriptive nature, holding airlines accountable through self-regulation, whereas US antitrust is far more reactive, as breaches are dealt with upon petition. Experiences learnt from deregulating the US domestic air transport market may have influenced steps taken to liberalise the European sector, but the tables are now turned. This thesis examines intricacies of the cooperative strategies in the context of the cooperative spirit of the air transport sector and how the practices elicit competition and antitrust laws to explain how airlines have remained economically efficient in what is perceived as a complex and confused regulatory environment. This study expands existing theory to propose in synthesis that, in spite of complex competitive markets, airlines are able to utilise laws on liberalisation and deregulation to achieve a commercial advantage through integrated business strategies. Although it is not perceived by airlines as such, liberalisation and deregulation engender autonomy. Therefore, the regulatory environment in effect encourages the industry to consolidate and promote changes to its structure so as to compete at a level similar to that of other industries. The actions taken towards cooperative behaviour in the industry are in fact a result of competitive forces and the reactive policy approaches that are by-products of deregulation and liberalisation. The phenomenal success of strategic alliances further demonstrates that the relationship between global alliances and the regulatory environment is symbiotic, which is supported by industry–regulator discourse, and/or public and private ordering.
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Metz, Evie. "The Puppets Look Like Flowers At Last." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5922.

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The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared.
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Books on the topic "Puppets"

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Warren, Jean. Puppets. Torrance, Calif: Totline Publications, 1998.

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Doney, Meryl. Puppets. New York: F. Watts, 1995.

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Llewellyn, Claire. Puppets. London: Franklin Watts, 2012.

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Llewellyn, Claire. Puppets. London: Franklin Watts, 2008.

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Singer, Noel F. Burmese puppets. Singapore: Oxford University Press, 1992.

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Ayesha, Taslim, and Pakistan National Council of the Arts., eds. Puppets in Pakistan, National puppet theatre. [Islamabad]: Pakistan National Council of the Arts, 2008.

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Fettig, Hansjürgen. Rod puppets and table-top puppets: A handbook of design and technique. Bicester: DaSilva Puppet Books, 1997.

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Warren, Jean. 1-2-3 puppets: Simple puppets to make for working with young children. Everett, Wash: Warren Publishing House, 1989.

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Vanessa, Bailey, ed. Puppets. New York: Gloucester Press, 1991.

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Peter, McNiven, and Fairclough Chris ill, eds. Puppets. New York: Thomson Learning, 1995.

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Book chapters on the topic "Puppets"

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Banfield, Janet. "Theatrical puppets." In Spaces of Puppets in Popular Culture, 111–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003214861-11.

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Banfield, Janet. "Musical puppets." In Spaces of Puppets in Popular Culture, 93–110. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003214861-10.

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Banfield, Janet. "Narrative puppets." In Spaces of Puppets in Popular Culture, 40–57. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003214861-5.

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Lambeth, Cheralyn L. "Rod Puppets." In Introduction to Puppetry Arts, 49–64. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-3.

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Lambeth, Cheralyn L. "Hand Puppets." In Introduction to Puppetry Arts, 65–88. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-4.

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Lambeth, Cheralyn L. "Shadow Puppets." In Introduction to Puppetry Arts, 109–28. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-7.

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Davoine, Françoise, William J. Hurst, and Lee Watroba. "The Puppets." In Wittgenstein’s Folly: Philosophy, Psychoanalysis and Language Games, 172–77. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003437451-25.

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Stalla, Heidi, and Diana Chester. "Sound Puppets." In Historical Research, Creative Writing, and the Past, 181–94. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003252801-13.

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Ruizendaal, Robin. "Consecrated Puppets." In Puppet and Spirit: Ritual, Religion, and Performing Objects, 149–61. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003150367-15.

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Krishna Rao, G. V. "One." In Puppets (Keelubommalu), 1–10. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-15119-6_1.

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Conference papers on the topic "Puppets"

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Protić, Anđela D. "Uloga scenske lutke u razvoju govora dece predškolskog uzrasta." In Savremeno predškolsko vaspitanje i obrazovanje – tendencije, izazovi i mogućnosti. University of Kragujevac, Faculty of Edaucatin in Uzice, 2023. http://dx.doi.org/10.46793/spvo23.303p.

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A doll, being one of the most interesting and beautiful toys of every child, helps children to relax, enrich vocabulary and imagination, as well as create both the imaginary and the real world. Encouraging speech in preschool is very important, and the activities that use stage puppets have a great impact on preschoolers' speech development. A stage puppet moves the thought, emotional, and social world and allows the child to express his/her own experience of the world through words, movements, and music. By using puppets, the educator and the child can more easily establish verbal and nonverbal communication with others in the group and cope with many life situations that are difficult for preschool children. Therefore, this paper reflects on the advantages of using stage puppets and their influence on preschool children's speech development.
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Morozov, Dmitriy, and Zarija Lukic. "Master of Puppets." In HPDC'16: The 25th International Symposium on High-Performance Parallel and Distributed Computing. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2907294.2907301.

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Nitsche, Michael, and Pierce McBride. "Manipulating Puppets in VR." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2020. http://dx.doi.org/10.1109/vr46266.2020.00018.

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Hayes-Roth, Barbara, and Robert van Gent. "Story-marking with improvisational puppets." In the first international conference. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/267658.267660.

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Costello, Martin. "Stop motion puppets in CG." In ACM SIGGRAPH 2006 Sketches. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179849.1179945.

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Hayes-Roth, Barbara, Erik Sincoff, Lee Brownston, Ruth Huard, and Brian Lent. "Directed improvisation with animated puppets." In Conference companion. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/223355.223438.

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Polyak, Emil. "Virtual impersonation using interactive glove puppets." In SIGGRAPH Asia 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2407156.2407191.

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Gagné, Michel. "Insanely twisted shadow puppets - 12 interstitials." In ACM SIGGRAPH 2006 Computer animation festival. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179196.1179240.

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Zuffi, Silvia, Javier Romero, Cordelia Schmid, and Michael J. Black. "Estimating Human Pose with Flowing Puppets." In 2013 IEEE International Conference on Computer Vision (ICCV). IEEE, 2013. http://dx.doi.org/10.1109/iccv.2013.411.

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Karaolis, Olivia. "PUPPETS AS A PEDAGOGY FOR INCLUSION." In Persons with disabilities in arts, science and education. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2024. http://dx.doi.org/10.59014/ubvz4655.

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Reports on the topic "Puppets"

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Doe, Connor. Puppet Theater in the German-Speaking World. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.88.

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Martin, Edith. A comparison of dramatic storytelling and puppet storytelling as a means of teaching selected nutritional concepts. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2901.

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