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Literatura académica sobre el tema "Television in literature"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 12 de febrero de 2022

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Artículos de revistas sobre el tema "Television in literature"

1

Coward, Rosalind. "Literature, Television, and Cultural Values". Yearbook of English Studies 20 (1990): 82. http://dx.doi.org/10.2307/3507522.

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Partello, Peggie. "Film and Television Literature Index". Charleston Advisor 12, n.º 1 (1 de julio de 2010): 17–19. http://dx.doi.org/10.5260/chara.12.1.17.

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Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja". Signa: Revista de la Asociación Española de Semiótica 28 (28 de junio de 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

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El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and application of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

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Jones, David Houston, Jean-Philippe Toussaint y Jordan Stump. "Television". World Literature Today 79, n.º 3/4 (2005): 94. http://dx.doi.org/10.2307/40158974.

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Willaert, Tom. "How Literature Imagined Television, 1880-1950". Orbis Litterarum 72, n.º 6 (1 de noviembre de 2017): 591–610. http://dx.doi.org/10.1111/oli.12152.

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Alexander, Louise, Jade Sheen, Nicole Rinehart, Margaret Hay y Lee Boyd. "The role of television in perceptions of dangerousness". Journal of Mental Health Training, Education and Practice 13, n.º 3 (14 de mayo de 2018): 187–96. http://dx.doi.org/10.1108/jmhtep-02-2017-0006.

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PurposeThis critical review of historical and contemporary literature explores the role of television media in the prevalence of stigma towards persons experiencing a mental health challenge. In addition to this, the purpose of this paper is to examine the notion of perceived dangerousness, which is a concept where persons with mental illness are thought by others to be inherently dangerous.Design/methodology/approachA vigorous search of databases was undertaken for articles published between 2000 and 2016. Some seminal literature prior to 2000 was used to compare historical data with current literature. In total, 1,037 publications were reviewed against inclusion criteria.FindingsWhile mental illness stigma has received much attention in the literature, television media and public perceptions of dangerousness have not. While these concepts are complex and multi-factorial, what we do understand is that approaches to address stigma have been largely unsuccessful, and that persons experiencing mental health challenges continue to be significantly disadvantaged.Practical implicationsImplications to practice for clinicians working in mental health on this issue have not been adequately explored within the literature. While media guidelines assist journalists to make informed choices when they portray mental health issues in television news, there are no such guidelines to inform drama television viewing.Originality/valueSignificantly, television’s role in perpetuation of perceptions of dangerousness has not been adequately explored as a combined co-occurring factor associated with the stigmatisation and avoidance of persons experiencing a mental health challenge. In an era when mental health challenges are on the rise, it is of great importance that we collectively seek to minimise negative impacts and improve the experiences of those with a mental health challenge through addressing stigma both individually and in television media.

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Wulandari, Sursih, Marnis Nasution y Mustafa Haris Munandar. "Implementasi Metode Case Based Reasoning Untuk Mendeteksi Kerusakan Televisi". JURNAL MEDIA INFORMATIKA BUDIDARMA 5, n.º 2 (25 de abril de 2021): 624. http://dx.doi.org/10.30865/mib.v5i2.2952.

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The process of deteriorating television should indeed be done by an expert who is a television expert himself, but because television is a tool that is no longer common for people to know him, many people also have television in their respective homes. Even for television repairs, it is quite expensive, so some people who have televisions can do television maintenance at home. The lack of knowledge possessed by the community can lead to wrong handling of television maintenance / maintenance and this has a fatal impact. Hopefully the existence of this system can help the community in diagnosing the damage to their televisions. In that case they need not bother to call for repairmen or bring in a television repair shop. Here the authors provide solutions to solve the problems that often arise on television. In this study, it discusses how to care for television officers. The research objective is to analyze a desktop-based expert system program that contains the knowledge of an expert / doctor whose truth is believed to have the ability to be able to diagnose the disease from the symptoms of damage that has been damaged by television damage quickly and precisely. The stages of research carried out in this study include literature study, data collection, system design, system creation, system testing. Case Based Reasoning is a method used to build a knowledge-based system. The source of system knowledge is obtained by collecting the handling of cases by an expert / expert. Therefore, many problems in television damage are usually due to the negligence of the television owner himself. The first step in solving a problem is by first identifying the scope of the problem to be resolved, this also applies to any Artificial Intelligence (AI) programming. The results obtained in the study for the diagnosis of conjunctivitis were the value of old cases and new cases which obtained a high weight value, namely 1 from the third case

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Yoedtadi, Moehammad Gafar, Riris Loisa, Genep Sukendro, Roswita Oktavianti y Lusia Savitri Setyo Utami. "ANALISIS KOMODIFIKASI KONTRIBUTOR DALAM PRODUKSI BERITA TELEVISI". Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, n.º 1 (30 de abril de 2021): 213. http://dx.doi.org/10.24912/jmishumsen.v5i1.9777.2021.

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The pattern of news production in the Indonesian television broadcasting industry generally uses two human resources, namely permanent journalists and temporary journalists. Regular journalists are organic employees of television companies. Meanwhile, journalists who are not permanent or contributors only work under a news sale and purchase contract. They are not the organic employees of the television company. They only get honorarium when the news airs. As a result of such a working relationship, the contributors' bargaining position is very weak in front of the television station management. The coverage and news agenda will follow the tastes of television stations. News coverage that is at risk of not airing will be avoided. As a result, there has been neglect of the ideal function of the media in serving the public interest. Based on the political economy theory of media, there has been a commodification of labor in the television news production process. The object of this research is the process of commodification of contributors in the production of television news.Meanwhile, the subjects of this study were television contributors, and news producers of Jakarta television stations.Other contributors who became research informants were in West Java and Ambon. This research uses a qualitative approach with a case study method. Collecting data using in-depth interviews, observation and literature study. The results showed that there has been a commodification of contributors in the production of television news. Television management exploits contributors. Television management promotes false consciousness among contributors who are unaware of the commodification. Pola produksi berita pada industri penyiaran televisi Indonesia umumnya memanfaatkan dua sumber daya manusia, yakni jurnalis tetap dan jurnalis lepas. Jurnalis tetap adalah karyawan organik dari perusahaan televisi. Sementara jurnalis lepas atau kontributor hanya bekerja berdasarkan kontrak jual beli berita. Mereka bukan karyawan organik perusahaan televisi. Mereka hanya mendapat imbalan honor ketika beritanya ditayangkan. Akibat dari hubungan kerja semacam itu, posisi tawar kontributor sangat lemah dihadapan manajemen stasiun televisi. Agenda peliputan dan berita akan mengikuti selera stasiun televisi. Peliputan berita yang berisiko tidak tayang akan dihindari. Akibatnya terjadi pengabaian fungsi ideal media dalam melayani kepentingan publik. Makalah ini hendak membedah proses komodifikasi kontributor berdasarkan teori ekonomi politik media. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Objek dari penelitian ini adalah proses komodifikasi kontributor dalam produksi berita televisi. Sementara itu subjek dari penelitian ini adalah para kontributor televisi, dan para produser berita stasiun televisi Jakarta. Kontributor lain yang menjadi informan penelitian berada di wilayah Jawa Barat dan Ambon. Pengumpulan data dengan menggunakan wawancara mendalam, observasi dan studi literatur. Hasil penelitian menunjukkan telah terjadi komodifikasi kontributor dalam produksi berita televisi. Manajemen televisi melakukan eksploitasi tenaga kontributor. Manajemen televisi mempromosikan kesadaran palsu kepada para kontributor sehingga tidak menyadari adanya komodifikasi tersebut.

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Djordjevic, Milentije. "Literature, film and television - coexistence, antagonisms, influences". Sinteze 1, n.º 2 (2012): 45–52. http://dx.doi.org/10.5937/sinteze1202045d.

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Queiroz, Regina Farias de. "I promessi sposi: entre o cânone e a adaptação parodística na televisão italiana". Revista Italiano UERJ 12, n.º 1 (5 de septiembre de 2021): 14. http://dx.doi.org/10.12957/italianouerj.2021.62063.

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RESUMO: Para discutir as questões subjacentes à adaptação de um texto clássico para as mídias, tomamos como objeto de estudo uma adaptação em formato de paródia para a televisão. I promessi sposi secondo il trio é uma minissérie em 5 episódios, realizada pela RAI, dirigida e protagonizada pelo trio Lopez-Marchesini-Solenghi, em 1990, que ganhou grande notoriedade nacional, exatamente pelo tom cômico que imprimiu à narrativa manzoniana. Neste trabalho, buscamos identificar as estratégias utilizadas na adaptação do clássico para a paródia e para tal, aplicamos ao texto televisivo parodístico o modelo prático-analítico de Robert Stam (2006), que concebe a adaptação audiovisual em dois níveis: estrutural e contextual. A partir dessa aplicação, utilizamos as categorias propostas pelo autor em todos os níveis de análise, a saber: autoria, personagens, narratologia, ordem, frequência e contexto. Os resultados demonstraram que as ressignificações proporcionadas pela adaptação televisiva ampliaram as possibilidades de interpretação do texto literário, além de consolidarem um processo de atualização de tal obra.Palavras-chave: I promessi sposi. Literatura italiana. Televisão. Adaptação. Paródia. ABSTRACT: Per discutere le questioni alla base dell'adattamento di un testo classico per i media, è stato preso come oggetto di studio un adattamento in parodia per la televisione. I promessi sposi secondo il trio è una mini-serie in 5 episodi, realizzata dalla RAI, diretta e interpretata dal trio Lopez-Marchesini-Solenghi nel 1990, la quale ha acquisito una grande notorietà nazionale proprio per il tono comico che ha impresso alla narrazione manzoniana. Il presente articolo ha cercato di individuare le strategie utilizzate nell'adattamento del classico in parodia, e, a tal fine, è stato applicato al testo televisivo parodistico il modello pratico-analitico di Robert Stam (2006), il quale concepisce l'adattamento audio-visivo in due livelli: strutturale e contestuale. Partendo da questa applicazione, si sono utilizzate le categorie proposte dall'autore in tutti i livelli di analisi, ovvero: paternità, personaggi, narratologia, ordine, frequenza e contesto. I risultati hanno dimostrato come i nuovi significati ottenuti attraverso l’adattamento televisivo abbiano ampliato le possibilità di interpretazione del testo letterario, oltre a consolidare un processo di aggiornamento di quest’ultimo.Parole-chiave: I promessi sposi. Letteratura italiana. Televisione. Adattamento. Parodia. ABSTRACT: In order to discuss the issues underlying the adaptation for the visual media of a classic text, the object of study of the hereby article has been an adaptation, in the format of a parody for the television. I promessi sposi secondo il trio is a mini TV-series consisting of 5 episodes, created by the RAI, directed and interpreted by the trio Lopez-Marchesini-Solenghi in 1990, which gained great national notoriety precisely because of the comedy tone it imprinted on Manzoni’s narrative.The hereby research has tried to identify the strategies used to adapt the classic novel into a parody and, in order to do so, the practical-analytic model by Robert Stam (2006) have been applied to the TV parody text. Such model conceives audio-visual adaptation in two levels: structural and contextual, and applying it, the categories proposed by the author, which are: authorship, characters, narratology, order, frequency and context, have been used in all the levels of the analysis. The results proved how the new meanings obtained through the TV adaptation have widened the possibilities of interpretation of the written text, and have also consolidated a process of updating the novel.Keywords: I promessi sposi. Italian Literature. Television. Adaptation. Parody.

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Tesis sobre el tema "Television in literature"

1

Ma, Eric Kit-Wai. "Television ideologies and cultural identities : the case of Hong Kong television". Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294793.

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Kroener, Oliver. "Engaging television characters : a cognitive approach to contemporary television". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30875/.

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To what degree is the viewer’s engagement with a television character triggered by the distinct narrative context of a programme? As with other types of storytelling (e.g. film, literature), engaging with a television character is an integral part of the overall experience of watching television. More specifically, television characters provide an emotional focal point for the audience. They invite us to imagine ourselves in their situation, challenge our sense of morality, and encourage us to consider how we would react if we were to encounter them in our everyday life. Whereas in the past relating to television characters has been somewhat of a private phenomenon, our relationship with television characters has become increasingly public within the last decade. The ever-growing recap culture around all types of television programmes on websites such as The AV Club, Uproxx, and IndieWire, and the lively discourse around television characters on social media (e.g. Twitter, Instagram, Facebook) underline this increased public interest in television characters. Given the current popular interest in viewer engagement with television characters, it is surprising that only a limited number of scholarly works have previously explored this subject. Furthermore, most existing studies on the viewer/character relationship in contemporary television exhibit little variation in their focus on genre and character type. More specifically, as a result of the impact of The Sopranos (1999 - 2007) and Breaking Bad (2008 – 13) on popular culture, scholarly discourse around television characters has been dominated by studies on the morally corrupt antihero protagonists of contemporary television drama. Aside from a few notable exceptions (e.g. Gorton, 2009; Blanchet and Vaage, 2012; Mittell, 2015), most existing studies on viewer engagement with television characters ignore the way in which narrative characteristics inherent to the television medium influence the viewer/character relationship. The main aim of this thesis is to establish a medium- and programme-specific, text-based theoretical model for the study of viewer engagement with television characters. Various television formats are examined, including wrestling, contemporary drama, animated series, and late-night chat programmes. Also examined are the specific modes of engagement (e.g. antipathy, parasocial engagement, long-term viewer engagement) that shape the viewer-text relationship. The methodological approach is primarily based in cognitive media theory and television studies, however, studies on viewer engagement from a wide range of disciplines (e.g. literary studies, psychology, sociology) are also considered. By examining viewer engagement in this way, this thesis challenges and builds upon existing theoretical approaches, and seeks to provide the reader with a deeper understanding of a relationship that, despite its growing importance in the everyday lives of many television viewers, has thus far only received limited scholarly attention.

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3

Alves, Stefanie Hesse. "A vida como ela é : Nelson Rodrigues no palimpsesto televisivo". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284598.

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Orientador: Gilberto Alexandre Sobrinho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T07:34:39Z (GMT). No. of bitstreams: 1 Alves_StefanieHesse_M.pdf: 1981641 bytes, checksum: dac84046436f38b8c4b1f63ef6400538 (MD5) Previous issue date: 2012
Resumo: Este estudo busca compreender o processo de adaptação de textos de Nelson Rodrigues para a televisão, por meio da análise dos episódios da série A Vida como ela é, dirigida por Daniel Filho, roteirizada por Euclydes Marinho, a partir de textos extraídos da coluna homônima de Nelson Rodrigues, publicada no jornal Última Hora, na década de 1950 e que foi exibida no programa Fantástico, da Rede Globo de Televisão, no ano de 1996. Interessou-nos investigar, a partir de um olhar direcionado aos aspectos narrativos e discursivos, componentes da linguagem audiovisual, como o meio televisivo foi explorado em suas estratégias e singularidades na tradução da obra rodriguiana. Tratamos, portanto, de discutir a presença de elementos característicos da poética rodriguiana nos textos da coluna jornalística, as características gerais da série dentro do panorama televisivo, considerando seu aspecto formal singular, sua inserção em um programa de variedades, a função ocupada pela série na estratégia da emissora no período em que foi exibida, de que maneira os textos de Nelson Rodrigues receberam da equipe de criação da série uma roupagem de cores, formas, figurinos, maquiagens, enquadramentos, músicas, vozes e efeitos sonoros, e como essa construção é ativada na construção de sentido da obra
Abstract: This study intend to understand the process of adapting Nelson Rodrigues texts to the television media, by analysing the episodes from the serie A vida como ela é, directed by Daniel Filho, scripted by Euclydes Marinho, based on texts taken from the column with the same name written by Nelson Rodrigues, published in the newspaper Última Hora, during the 1950 decade, and broadcasted during the program Fantastico, by Rede Globo de Televisão, in 1996. We were interested in studying, from a view directed to the narrative and discursive aspects, components of audiovisual language, how television media was explored in its strategies and singularities in the translation process of Nelson Rodrigues texts. We intend, therefore, to discuss the presence of elements from Nelson Rodrigues writing in the newspaper column, the general characteristics of the series within the television scenery, considering its singular formal aspect, its insertion into a variety show, the role taken by the series in the strategy of the TV station during its exhibition, how Nelson Rodrigues writing received colors, shapes, costumes, makeup, frameworks, music, voices and sound effects by the creative crew, and how this scenario is activated in the serie's comprehension
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4

Lecomte, Monia Rolande Marie. "L'Europeanisation de la television Francaise". Thesis, University of Bath, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268193.

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Keirstead, Phillip O. "Changing television news : a comparative historical study of the automation of British and American television newsrooms". Thesis, City University London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307870.

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6

Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television". Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.

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7

Kreuz, Jill. "Shakespeare on South African television". Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/21692.

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This study undertakes the analysis of the eight productions of Shakespeare that were produced for television by the South African Broadcasting Corporation (SABC) between 1977 and 1988. The plays that were selected for production are Much Ado About Nothing (1977) Macbeth (1980) Twelfth Night (1981), A Midsummer Night's Dream (1982), Hamlet (1983), and The Merchant of Venice (1987). The SABC has also televised two stage productions by performing arts councils; these are Romeo en Juliet (1982) and The Winter's Tale (1988). The approach I have taken is a cultural materialist one. The television productions are analysed within the context of the SABC as a social, political and cultural institution, whose policies and practices are in turn shaped by the wider national political, economic and social context. The cultural role of the SABC is a dominant one, not least because of its monopoly over South African broadcasting until 1986. Its perception of its role and function is based on the passive "mirror" theory of media communication whereby "reality" is simply reflected within the operations and by the products of radio and television. In contrast, my approach to broadcast media incorporates the view that a broadcasting institution has a mutually active relationship with the community it addresses itself to, that this relationship undergoes change through historical development and that its products engage with their audience as it engages with them; they are as much informed as informing. In exploring the conditions of production of the SABC's television Shakespeares, I have undertaken to interview as many people as possible involved in their production. Analysis of their approach to the production of Shakespearean drama in South Africa combined with (semiotic) analysis of the message of production leads to an interpretation of the ideological reference of these productions. I conclude that the eight television productions of Shakespeare (separately and together) reinforce the traditional idealist attitudes towards Shakespeare instilled by critical orthodoxy. To a large extent, these attitudes are maintained by the educational, theatrical, and popular cultural background which produces the "Shakespeare myth" in South Africa.

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Giaccardi, Chiara. "Advertising on television : a comparative sociosemiological analysis". Thesis, University of Kent, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303325.

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Jacobs, Jason. "Early British television drama : aesthetics, style and technology". Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296562.

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McNair, Brian. "Television news coverage of defence and disarmament issues". Thesis, University of Glasgow, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333600.

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Libros sobre el tema "Television in literature"

1

Television. Tarrytown, N.Y: Benchmark Books, 1996.

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Grabowski, John. Television. Detroit: Lucent Books, 2011.

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Chmielewski, Gary T. Television. Ann Arbor, Mich: Cherry Lake Pub., 2009.

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1936-, Coulter Shirley, ed. Television. Vero Beach, Fla: Rourke Publications, 1996.

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Riehecky, Janet. Television. Tarrytown, N.Y: Benchmark Books, 1996.

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Lachenbruch, David. Television. Milwaukee: Raintree Publishers, 1985.

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Balcziak, Bill. Television. Vero Beach, FL: Rourke Enterprises, 1989.

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Television. New York: Marshall Cavendish Benchmark, 2006.

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9

Television. Ann Arbor, MI: Cherry Lake Pub., 2009.

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10

Langley, Andrew. Television. New York: Bookwright Press, 1987.

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Capítulos de libros sobre el tema "Television in literature"

1

Faulkner, Sally, Vicente Sánchez-Biosca y Paul Julian Smith. "Cinema, Popular Entertainment, Literature, and Television". En A Companion to Spanish Cinema, 489–517. Oxford: Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch17.

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Butt, Richard. "The Classic Novel on British Television". En A Companion to Literature, Film, and Adaptation, 159–75. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch9.

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Langford, Barry. "Mass Culture/Mass Media/Mass Death: Teaching Film, Television, and the Holocaust". En Teaching Holocaust Literature and Film, 63–77. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230591806_6.

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Taylor, Lucy y Jeannie Bulman. "Children’s Literature on Screen: Developing a Model of Literacy Assets". En The Palgrave Handbook of Children's Film and Television, 417–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_23.

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Driscoll, Lawrence. "A Class Act: Representations of Class in British Cinema and Television 1979–2008". En Evading Class in Contemporary British Literature, 169–207. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622487_6.

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Whitehurst, Katherine. "Stories of Motherhood and Ageing in ABC’s Television Programme Once Upon a Time". En Ageing Women in Literature and Visual Culture, 129–45. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63609-2_8.

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Riach, Alan. "It Happened Fast and it was Dark: Cinema, Theatre and Television, Comic Books". En Representing Scotland in Literature, Popular Culture and Iconography, 195–222. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230554962_9.

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Geraghty, Christine. "Dissolving Media Boundaries: The Interaction of Literature, Film, and Television in Tender Is the Night (1985)". En Adaptation in Visual Culture, 175–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58580-2_10.

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9

Pulec, Jiří. "Robert Konečný a jeho písemná pozůstalost v univerzitním archivu". En Filosofie jako životní cesta, 73–87. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-4.

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In January 2018, Masaryk University archives obtained an extensive written estate of Robert Konečný (1906–1981), an associate professor of philosophy and professor of psychology at Masaryk University, the pioneer of health-care psychology in Czechoslovakia, a poet and author, and a major figure of resistance to Nazism. Robert Konečný’s personal files, which belong among the best preserved items in the university archives, were organized and made accessible during 2018. Extensive correspondence mainly includes collections of letters from key figures of Czech literature, philosophy and psychology. A remarkable part of the estate consists of texts of Konečný’s lectures and speeches as well as documents on his educational activity in radio and television broadcasting. The files also represent a valuable source for the study of resistance to Nazism in Moravia. An extensive set of manuscripts, typescripts and prints from the fields of psychology, philosophy and literature can serve as a basis for the preparation of Konečný’s bibliography.

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10

Virino, Concepción Cascajosa. "Television in Spain and Portugal". En Comparative History of Literatures in European Languages, 550–62. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.44vir.

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Actas de conferencias sobre el tema "Television in literature"

1

Waldnerova, Jana. "TELEVISION � A NEW CHALLENGE IN LITERATURE". En 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.017.

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Li, Xinxin. "Study on Film and Television Literature Criticism". En 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.94.

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"Dissemination and Breakthrough of Cartoon Culture under Television Media". En 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.029.

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Sekhudin, N., S. Hapsari, A. Anam, S. Muharomah, S. Mulyani y M. Ahmad. "The Culture of Extracting Information through Politeness Strategy on Mata Najwa Television Program". En 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282783.

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Nash, Susan. "Mobile Learning Cognitive Architecture and the Study of Literature". En InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3179.

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The growing popularity of mobile devices, coupled with the ever-increasing number of high-quality e-books available for free download is causing a re-examination of core curriculum and instructional philosophies. Perhaps the most - making “great books” programs available and accessible - newly interesting, despite misgivings and political correctness of the last few decades. Distance learning via mobile devices, which incorporate some of the techniques of television and film, has made the classics of literature available and allowed people to have access to classics at a very low cost. At the same time, it has re-animated debates about the nature of study of comparative literature in a globalized world.

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6

"The Value Appeal and Spirit Decoding of the Films and Television Programs in the New Themes". En 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.41.

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Liu, Xiaoou y Ying Hou. "Source a Renewal - Adapting the Children's Literature into the Films and Television Plays". En 2018 2nd International Conference on Management, Education and Social Science (ICMESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icmess-18.2018.93.

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8

Egorova, S. D., A. Lock y M. G. Nechaev. "COMICS DEVELOPMENT FACTORS IN RUSSIA FOR THE INTERNATIONAL MARKET". En TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1011.

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The comic combines the features of such art forms as literature and fine art. They have long been present in the media and, as a rule, are now being worked on in large editions. In America, Japan and Europe, the comics industry is no less developed than the cinema and television industry, literature and video games. In Russia, comics as a genre arestill in their infancy.

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9

Preciado, Jessica A., Boris Rubinsky, David Otten, Brent Nelson, Michael C. Martin y Ralph Greif. "Radiative Properties of Polar Bear Hair". En ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-32473.

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The polar bear’s ability to survive in the harsh arctic night fascinates scientific and lay audiences alike, giving rise to anecdotal and semi-factual stories on the radiative properties of the bear’s fur which permeate the popular literature, television programs, and textbooks [1–5]. One of the most interesting radiative properties of polar bear fur is that it is invisible in the infrared region. Some theories have attempted to explain this by claiming that the outer temperature of the fur is the same as that of the environment. However, this explanation is unsatisfactory because surface radiation depends on both the surface temperature and the surface radiative properties [6].

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10

Klein, Joseph. "Performance of Simple and Complex Computerized Learning Tasks: Division of Attention vs. Division of Labor". En InSITE 2009: Informing Science + IT Education Conference. Informing Science Institute, 2009. http://dx.doi.org/10.28945/3296.

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The need to divide attention in order to deal with information flowing in from a number of sources is observable in many work settings. Although most people can perform several simple activities concurrently, such as eating and watching television (Sharon, 1997), making simultaneous decisions is difficult (Pashler & Johnston, 1998). For the majority, task overload causes errors in performance (Girard, 2007), a decline in the quality of treatment (Ruthruff et al., 2001), and longer reaction time (Levy et al., 2006). The few who cope efficiently under such circumstances employ different cognitive strategies. Teamwork is one way of managing multiple demands. Group work makes it possible to deal with larger amounts of information and to generate a variety of ideas as well as to minimize faulty conclusions. On the other hand, individuals make speedier and better decisions, and are not subject to the tensions of interplay (Davis and Toseland, 1987). The literature offers little information on methods of testing the conditions under which tasks should be handled by one agent or a team. The educational project described here was conducted comparing efficiency of performance of a series of tasks by individuals and small groups. 116 participants, ranging in age from high school level through holders of Masters' degrees, 58 women and the same number of men, were presented with a computer game based on educational software. Participants were instructed to manipulate a tracker by means of the keyboard in order to contact a target moving randomly on the screen. The game was arranged in five levels of difficulty. A comparison was made of the speed in which objectives were attained when performed individually and when divided among groups of two to four partners, controlling for the type of coordination, cognitive style and additional background variables. Cases of expedient and inexpedient division of labor were identified, as were factors affecting feasibility. Among the latter were the size of the simultaneous task load, complexity level, number of participants, and the intensity of coordination required among them.

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