Artigos de revistas: "Character voice"

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Ichikawa, Akira. "Character voice communication system". Journal of the Acoustical Society of America 93, n.º 3 (março de 1993): 1676. http://dx.doi.org/10.1121/1.406756.

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Smith, Jennifer. "Voices, Combat, and Music". Journal of Sound and Music in Games 2, n.º 2 (2021): 42–62. http://dx.doi.org/10.1525/jsmg.2021.2.2.42.

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Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with multiple characters through the constant use of the diegetic spoken voice to communicate between the player-character, Noctis, and the three other character identities, Prompto, Ignis, and Gladiolus. The game’s opening rendition of Ben E. King’s “Stand by Me,” performed by Florence + the Machine, provides the player with four narrative themes that are present throughout the game. These themes include a coming-of-age story, character relationships, and the development of a greater evil within the narrative. Unique in its position as a pre-composed song, “Stand by Me” plants the idea that the player will not be alone in their journey, as character allies will stand by Noctis, from the beginning of the game. Final Fantasy XV uses vocalizations in both the diegetic and non-diegetic audio space in order to reflect the characteristics of the playable characters. The vocal relationship between the player’s characters provides directional feedback and information for the player within combat, alongside foretelling the stories of certain characters.

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Howell, Peter. "CHARACTER VOICE IN ANIME SUBTITLES". Perspectives 14, n.º 4 (24 de julho de 2007): 292–305. http://dx.doi.org/10.1080/09076760708669045.

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Feng, Dezheng, e Peter Wignell. "Intertextual voices and engagement in TV advertisements". Visual Communication 10, n.º 4 (14 de outubro de 2011): 565–88. http://dx.doi.org/10.1177/1470357211415788.

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By analysing multimodal TV advertisements, this study aims to show how intertextual voices are exploited in advertising discourse to enhance persuasive power. Taking as their point of departure the assumption that all discourses are intertextual recontextualizations of social practice that draw on external voices from both specific discourses and discursive conventions, the authors identify two types of intertextual voice in TV advertisements: character and discursive voice. This article illustrates the multimodal construction of voices and demonstrates that the choice of voices is closely related to the ‘domain’ of the product. It is argued that the intertexual voices contribute to the advertising discourse through multimodal engagement strategies. Character voice endorses the advertised product through such resources as lexico-grammar, intonation, facial expression and staged narrative, while discursive voice endorses the advertised product through contextualization and intertextual discourse structure. It is hoped that the study will shed light on the understanding of the heteroglossic nature of advertisements, the interaction between intertextual voices and the advertised message, and multimodal construction of voices and engagement.

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Mitchell, Liam. "Damsels Who Distress". Camera Obscura: Feminism, Culture, and Media Studies 35, n.º 2 (1 de setembro de 2020): 63–93. http://dx.doi.org/10.1215/02705346-8359518.

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Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.

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Pongkittiphan, Teeraphon, Daisuke Saito, Nobuaki Minematsu e Keikichi Hirose. "Eigenvoice-Based Character Conversion for Arbitrary Speakers Using Various Character Voices of a Skilled Voice Actor". Journal of Signal Processing 17, n.º 4 (2013): 139–42. http://dx.doi.org/10.2299/jsp.17.139.

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Smith, Jennifer. "Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II". Soundtrack 11, n.º 1 (1 de agosto de 2020): 75–97. http://dx.doi.org/10.1386/ts_00006_1.

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The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.

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Adnan Al-Khayyat, Amal. "When the Old Woman Speaks in Soueif’s “Her Man” and “The Wedding of Zeina” and Rifaat’s “Bahiyya’s Eyes”". Advances in Language and Literary Studies 11, n.º 1 (27 de fevereiro de 2020): 65. http://dx.doi.org/10.7575/aiac.alls.v.11n.1p.65.

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This paper compares between the voices of three old women characters in three short stories by two Arab women writers. The stories are Ahdaf Soueif’s “Her Man” and “The Wedding of Zeina” (from the same story collection Aisha) and Alifa Rifaat’s “Bahiyya’s Eyes” from her story collection Distant View of a Minaret. The paper reveals, from a feminist perspective, how the women characters are positively or negatively influenced by the way patriarchy perceives them and relates this perception to Jacque Lacan’s theory of the gaze. It also shows how each one of the old women characters seeks to pass her understanding to the upcoming generation and demonstrates how her voice turns out to be either one of patriarchy or resistance. The paper finds that although the voices of the three old women in the three short stories differ in their representation, they can be placed in the same boat as the female character who listens to the old woman’s voice does not act passively in any of them.

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Duerfahrd, Lance. "Sisyphus screams: The rift between sound and image in Matka". Short Film Studies 4, n.º 1 (1 de abril de 2014): 27–30. http://dx.doi.org/10.1386/sfs.4.1.27_1.

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Matka allegorizes cinematic voice. It denotes the distance crossed in order to scream and the distance separating character from scream. Editing desutures voice from (voice) box, scream from mouth and the character from his silent journey. Cinematically, Sisyphus encounters his body as an absurd excess, a hollow armature to his voice.

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Sun, Xinxin, e Wenkui Jin. "Health Informatics Study of Smart Human-Computer Interaction Devices for Elderly Patients". Journal of Medical Imaging and Health Informatics 9, n.º 8 (1 de outubro de 2019): 1607–13. http://dx.doi.org/10.1166/jmihi.2019.2780.

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Purpose: To analyze the elderly patients' demand in the field of language emotional attributes which is different from the particularity of the general population, and then used it to design the Smart Voice Assistant for elderly patients. Methods: The types of character are called the experts, assistants, family members and pets according to two evaluation scales which are 'friendly–unfriendly' and 'dominant–submissive.' Professional Mandarin Chinese broadcasters were invited to record their voice of a neutral sentence respectively. With differences in pitch, volume, tone color and sound quality, varied types of characters were simulated and eight pieces of voice record were generated. Twenty old people were selected to participate in the measurement test to grade these eight pieces of voice based on their acceptability of these voices. Results: Experiment shows that the male test group's preference value to the male voice is 4.4250, a little higher than their preference value to the female voice which is 3.9000. But the Independent Samples T Test shows that the significance of F Test is 0.345 > 0.05, while that of corresponding T test is 0.051, a little higher than 0.05. Hence it can be assumed that the male test group has almost no difference in the preference for voice gender. And the average of the female test group's preference value is 3.9500 for the male voice and 4.9750 for the female voice. Therefore, the female test group prefer female voice. In Independent Samples T Test, the significance of F Test is 0.909 > 0.05, while that of T Test is 0.000 < 0.05. Hence the female test group's voice gender preference has statistically significance difference. In terms of the individualization of voice type with different voice characters, the average grades from male test group to expert, assistant, family and pet type is 4.75, 4.85, 3.9, 3.15, while male test group is 3.65, 4.40, 5.40, 4.41. Conclusion: Based on the experimental results and verification, voice interaction among the elderly patients in the home environment, family-female type is the best choice.

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McCARTHY, DAVID. "Textured Voices and the Performance of Ethical Life in the Case of the Laff Box (1966)". Twentieth-Century Music 13, n.º 1 (março de 2016): 109–37. http://dx.doi.org/10.1017/s1478572215000195.

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AbstractTextured voices include both voices heard as interpolated into a musical texture and voices heard as having their own textured character, whether as a ‘voice’ with a ‘timbre’ or as a ‘collective voice’ with a ‘composite timbre’ made up of many voices, each textured itself. They have often been heard as performances of ethical life. Comparisons between these performances can be misleading because the contingencies characterizing the textured voice for a listener who listens in a particular way can make each performance irreducible. A pair of articles and cartoons in TV Guide from the summer of 1966 depict the making of a textured laugh track as a contradictory activity. Yet they seem to resolve contradictions into surface conflicts between individuated parties. Listening for textured voices in this case was itself a political activity because it was productive of more than one distinct form of ethical life.

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Azam, Nushrat. "A Feminist Critique of “Voice” and the “Other” in J.M. Coetzee’s Post-colonial Novel “Foe”". International Journal of Applied Linguistics and English Literature 7, n.º 7 (1 de dezembro de 2018): 164. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.7p.164.

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This paper seeks to analyze the techniques and effects of voice and silence in the life of a female character in J. M. Coetzee’s Foe. The analysis shows how the character of Susan Barton in Foe gives readers a feminine perspective on the famous tale of Robinson Crusoe. The method of investigation is a critical examination of the characterization of the female character; the research analyzes the events, actions and the interactions of Susan Barton, with a sight to identify how the character of Susan is portrayed in the novel. The analysis shows that while Susan is able to find a “voice” in some parts of this post-colonial text, her constant submission to strong male characters in the novel ends up showing a picture of a frail woman who defines her existence and individuality relative to men in her life. It strengthens the fact that women were still struggling to free themselves from the patriarchal domination of the post-colonial era.

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Azam, Nushrat. "“Madwoman in the Post-Colonial Era” A Study of the Female Voice in Jean Rhys’ Wide Sargasso Sea". International Journal of Applied Linguistics and English Literature 6, n.º 7 (10 de outubro de 2017): 236. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.236.

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This paper seeks to analyze the mediums and effects of voice and silence in the life of a female character of the re-written post-colonial text Jean Rhys’ Wide Sargasso Sea. The analysis shows how a re-written text can give a new meaning to a character and story of a novel, where the character of Antoinette tells the untold story of Bertha in Jane Eyre. The method of investigation for this research is analytical and descriptive; the research was completed by analyzing the events, actions and the interactions of the female character, Antoinette with the other major characters in the novel in order to identify how the character of Antoinette was portrayed throughout the novel. It is understood through the study of the text, that the post-colonial novel gave the female voice much more importance than its previous counterpart. This represents the early post-colonial times during which women were starting to gain liberation but had still not completely moved on from the notions of patriarchal societies that they had grown up in.

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R, Lakshmi Devi. "Ahalya : ‘Girl , Woman, Other’ - Feminist Reading of Ahalya’s Awakening by Kavita Kane". SMART MOVES JOURNAL IJELLH 8, n.º 1 (28 de janeiro de 2020): 13. http://dx.doi.org/10.24113/ijellh.v8i1.10358.

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This paper studies feminism in the novel Ahalya’s Awakening by Kavita Kane. The paper explores how the voice of the quite character from a mythology stands up and questions the patriarchal notion of the society. It explores the multi level exploitation of the women, her struggles, pains and subjugation in a male dominated society. The character of Ahalya has far reaching implication in the current society as she voices the questions that turns to be the pillar of modern feminism.

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Baczewski, Philip, e Rosemary N. Killam. "Melodic character versus voice position in the perception of a two‐voice musical structure". Journal of the Acoustical Society of America 88, S1 (novembro de 1990): S90. http://dx.doi.org/10.1121/1.2029213.

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DESCHLER, DANIEL G., E. THOMAS DOHERTY, CHARLES G. REED e MARK I. SINGER. "Quantitative and Qualitative Analysis of Tracheoesophageal Voice after Pectoralis Major Flap Reconstruction of the Neopharynx". Otolaryngology–Head and Neck Surgery 118, n.º 6 (junho de 1998): 771–76. http://dx.doi.org/10.1016/s0194-5998(98)70267-0.

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Although tracheoesophageal voice restoration is accepted after reconstruction of the neopharynx with the pectoralis major myocutaneous flap, the character of such voice is not well described. Six patients reconstructed with the pectoralis major flap after laryngopharyngectomy underwent successful voice restoration with the Blom-Singer prosthesis. Voice was evaluated by a standardized protocol and compared with voices of control subjects treated with total laryngectomy and similar voice restoration. The patients with pectoralis major flaps produced similar intensity levels for soft voice (53.7 dB vs. 55.6 dB) and loud voice (61.3 dB vs. 65.3 dB) when compared with controls ( p > 0.05). No significant differences ( p > 0.05) were noted for fundamental frequency (F0) between patients with pectoralis major flaps and controls for soft (62.3 Hz vs. 85.4 Hz) and loud (109.8 Hz vs. 133.8 Hz) voice. Jitter was also comparable. Trained and naive listeners completed qualitative analyses for 10 parameters and judged that control patients had significantly better voice for most parameters. This finding demonstrates that dependable voice is attainable after pectoralis major flap reconstruction of the neopharynx. Although this voice does not differ significantly from voice after standard laryngectomy for acoustic parameters, perceptual analysis does reveal significant differences. (Otolaryngol Head Neck Surg 1998;118:771-6.)

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Azmi Kartika Sari. "THE DELUSION OF BEING HUMAN: FANTASTIC MOTIVES IN THE MOVIE ANOMALISA (2015) BY CHARLIE KAUFMAN AND DUKE JOHNSON". IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 5, n.º 1 (30 de junho de 2019): 77–86. http://dx.doi.org/10.21009/ijlecr.051.09.

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This study aims to analyze the fantastic motives that lay inside a movie titled Anomalisa. The background of choosing this movie as an object is caused by the unique concept where all the other characters except the main character named Michael have the same face and the same voice, no matter what gender they are. However, there is one exception which when Michael met a girl named Lisa, who is the only person ever in Michael’s world to ever has a different voice and face. This leads to a problem statement; whether the phenomenon of facial and voice uniformity is a fantastic event that is experienced directly by the character due to external factors or internal factor such as psychological intervention. This study uses qualitative method and in order to answer this question, the writer uses Todorov’s fantastic theoretical framework. The results show that the fantastic motives presented in Anomalisa is included in the fantastic uncanny category. The fantastic motives are present due to the delusion of Fregoli experienced by the main character, Michael Stones. Delusions experienced by Michael according to the author are triggered by a sense of boredom and loneliness experienced by Michael. Key words: Anomalisa; Fantastic literature; Film analysis; Tzvetan Todorov

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Karcz, Andrzej. "The Muffled Voice. On The Conventional Character of Literature". Roczniki Humanistyczne 66, n.º 1 SELECTED PAPERS IN ENGLISH (23 de outubro de 2019): 5–17. http://dx.doi.org/10.18290/rh.2018.66.1-1e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. In the article a reflection is proposed on literature’s inner problems concentrated around the concept of literary convention. It seems that in the postmodernist demands to give more attention to those voices in literature that up till now have been “muffled,” “passed over” and “oppressed,” the meaning of the concept of “convention” has been distorted. However, its proper understanding is as elementary for the existence and development of literature as treating a literary work as an artificially organized form, and not as the writer’s confession. The author of the article, on the basis of the definitions formulated by the formalist-structuralist school, discusses the inner, aesthetic laws of literature dictated and defined by literary convention and tradition, and he indicates that it is them – more than political, social or moral causes—that in the natural process of creation and development of literature cause that some voices, perhaps, cannot be fully heard.

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Pridmore, Helen M. "The Naked Voice". Brock Review 12, n.º 2 (16 de fevereiro de 2012): 27–35. http://dx.doi.org/10.26522/br.v12i2.368.

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Unaccompanied singing dates back thousands of years, yet solo voice onstage today is still relatively uncommon in our Western musical world. The singer alone seems exposed and vulnerable, unsupported by the usual instrumental accompaniment; but in spite of -- because of --this vulnerability, solo voice can create an intense and powerful means of musical expression. Much of the existing repertoire for solo voice overlaps with theatre work, as the singer alone will inevitably explore character presentation and development, through music and text. This short paper discusses some important repertoire in the solo voice genre and introduces new Canadian works.

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Weckstein, Jason D. "Molecular Phylogenetics of the Ramphastos Toucans: Implications for the Evolution of Morphology, Vocalizations, and Coloration". Auk 122, n.º 4 (1 de outubro de 2005): 1191–209. http://dx.doi.org/10.1093/auk/122.4.1191.

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Abstract I reconstructed the phylogeny of 12 Ramphastos toucan taxa using mitochondrial DNA (mtDNA) sequences. This analysis identified two major groups, including a monophyletic smooth-billed yelping clade and a clade including most, but not all, the channel-keel-billed croakers. Within the R. tucanus and R. vitellinus groups, uncorrected mtDNA divergences are relatively low and mtDNA sequences from several subspecies are paraphyletic. One exception to low divergences within the R. vitellinus group is R. v. ariel from southeastern Brazil, which on average differs from all other R. vitellinus sampled by 2.9%. Character reconstructions on the phylogeny indicate that the ancestral Ramphastos was most likely a large-bodied channel- keel-billed croaker. Furthermore, an assessment of the patterns of bill shape, voice, and both plumage and bare-part coloration characters suggests that bill shape and voice have significant phylogenetic signal but that color characters do not. Sympatric Ramphastos taxa are not closely related in the phylogeny; therefore, character reconstructions indicate that the extreme similarity in coloration patterns between many sympatric Ramphastos pairs is most likely attributable to a combination of convergence or parallelism (homoplasy) and shared ancestral character states (symplesiomorphy). Filogenética Molecular de los Tucanes del Género Ramphastos: Implicaciones para la Evolución de la Morfología, las Vocalizaciones y la Coloración

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Nettelbeck, Hugh Wilson. "Comparing audience perceptions of characters in subtitled film". Journal of Audiovisual Translation 3, n.º 1 (2 de novembro de 2020): 50–71. http://dx.doi.org/10.47476/jat.v3i1.2020.102.

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Understanding of key character attributes in foreign film may be reduced when perception is dependent on subtitles. This research aimed to validate a reception-based method for empirically measuring functional equivalence of character voice in subtitled film. Participants watched a Japanese film excerpt, with or without English subtitles, and rated their impressions of the central character (Takuji) on 16 character descriptors (8 antonym pairs), identified by the author as important for understanding Takuji. Perceptions of Takuji’s personality were compared between Japanese and English speakers in two studies (Study 1, N = 49, 28 Japanese, 21 English; Study 2, N = 53, 23 Japanese, 30 English). Both studies involved assessment of Takuji by Japanese speakers (no subtitles) and English speakers (English subtitles). Study 2 attempted to improve inter-item reliability and equivalence between languages by using more direct antonyms and longer descriptors than Study 1. Results from both studies established significant differences in character perceptions between Japanese and English viewers and confirmed the reliability of Japanese intracultural perceptions. Consistency in the loss of character voice between language groups in both studies confirmed that this approach to measuring character voice has strong potential for assessing subtitling approaches that aim to address functional equivalence in character perception.

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Poole, Ralph. "'Ta, te, ti, toe, too'". JAAAS: Journal of the Austrian Association for American Studies 1, n.º 2 (30 de dezembro de 2020): 283–301. http://dx.doi.org/10.47060/jaaas.v1i2.36.

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Hollywood comedies of the 1950s saw the decline of a specific kind of female comedian, as unruly comediennes in the screwball tradition transformed into silly sexy vixens or tamed into homely sexless housewives. There are, however, some comedies which self-reflectively negotiate this shift. In this article, I would like to suggest that the voice of the comedienne serves as a marker of distinction. My article accordingly explores two pivotal examples of such transformative processes: Judy Holliday as Billie Dawn in Born Yesterday (1950) and Jean Hagen as Lina Lamont in Singin' in the Rain (1952). Both heroines feature what critics have called "the horrors of the harsh female voice." Whereas Billie's voice "survives" through schooling and refinement, Jean's voice resists all training and remains shrill and rowdy, leading to the violent expulsion of her character altogether. With the transformation and eventual disappearance of these extraordinary female actresses and their roles, such voices remained silent for a long time, until loud and brassy comediennes of a new generation were allowed to reappear on the silver screen and to raise their harsh and distinctive voices once again.

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Evain, Christine, Hilda Twongyeirwe, Mercy Mirembe Ntangaare e Spencer Hawkridge. "Ugandan Literature: the Questions of Identity, Voice and Context". International Journal of English and Cultural Studies 1, n.º 1 (23 de abril de 2018): 46. http://dx.doi.org/10.11114/ijecs.v1i1.3226.

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In this article, the authors attempt to describe the character of the Ugandan book focusing especially on the ways the literature is impacted and or impacts the country’s identity, voice, and future. Sometimes, common themes that appear in the literature have come to crystalize national identity in spite of the complex issues generated by years of colonialism and neo-colonialism. Today more than before more Ugandans are able to read. The challenge, however, is that this readership seems to have conspired with the book publishing industry who thrive as business enterprises at the expense of building a national identity and voice, literary health, or cultural heritage. Where then and how can the critical voices grow or multiply? What contexts will grow the Ugandan book? How insoluble are the indigenous publishers? On the other hand, the book chain has been boosted by efforts some of them international like the literary awards and prizes, residences and book fairs. Hitherto ignored constituents like the women and indigenous publishers are also now on board. It is hoped these budding efforts will continue to grow, flourish, and consolidate the Ugandan book character.

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Goebbels, Heiner. "Peculiar Voices". TDR/The Drama Review 55, n.º 1 (março de 2011): 46–51. http://dx.doi.org/10.1162/dram_a_00047.

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The experimental work with the human voice in contemporary compositions often simply ignores the genuine connection of the voice to expression and to the body. The voice is not a “neutral” instrument, but always intertwined with its very character of impartation and its physical body.

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Rai, Laxmisha, e Hong Li. "MyOcrTool: Visualization System for Generating Associative Images of Chinese Characters in Smart Devices". Complexity 2021 (7 de maio de 2021): 1–14. http://dx.doi.org/10.1155/2021/5583287.

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Majority of Chinese characters are pictographic characters with strong associative ability and when a character appears for Chinese readers, they usually associate with the objects, or actions related to the character immediately. Having this background, we propose a system to visualize the simplified Chinese characters, so that developing any skills of either reading or writing Chinese characters is not necessary. Considering the extensive use and application of mobile devices, automatic identification of Chinese characters and display of associative images are made possible in smart devices to facilitate quick overview of a Chinese text. This work is of practical significance considering the research and development of real-time Chinese text recognition, display of associative images and for such users who would like to visualize the text with only images. The proposed Chinese character recognition system and visualization tool is named as MyOcrTool and developed for Android platform. The application recognizes the Chinese characters through OCR engine, and uses the internal voice playback interface to realize the audio functions and display the visual images of Chinese characters in real-time.

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Hoshino, Junichi, e Hiroshi Mori. "Generating Reactive Attention of CG character For Voice User Games". Journal of the Society for Art and Science 9, n.º 1 (2009): 20–28. http://dx.doi.org/10.3756/artsci.9.20.

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Morrison, Kevin A. "Modulating Narrative Voice: Mary Russell Mitford's Sketches of Rural Character". Women's Writing 22, n.º 4 (17 de abril de 2015): 505–24. http://dx.doi.org/10.1080/09699082.2015.1025471.

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TANNOCH-BLAND, JENNIFER. "Dugald Stewart on intellectual character". British Journal for the History of Science 30, n.º 3 (setembro de 1997): 307–20. http://dx.doi.org/10.1017/s0007087497003105.

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Dugald Stewart (1753–1828) lectured in astronomy and political economy, held the chair of mathematics at Edinburgh University from 1775 to 1785, then the chair of moral philosophy from 1785 to 1810, and wrote extensively on metaphysics, political economy, ethics, philology, aesthetics, psychology and the history of philosophy and the experimental sciences. He is commonly regarded as the last voice of the Scottish Enlightenment, the articulate disciple of Thomas Reid, father of Scottish common sense philosophy. Recently some historians have begun to rediscover elements of the contribution Stewart made to early nineteenth-century British intellectual culture, and his Collected Works have been republished with a new introduction by Knud Haakonssen.

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Martin, Thomas W. "The Silence of God: A Literary Study of Voice and Violence in the Book of Revelation". Journal for the Study of the New Testament 41, n.º 2 (6 de novembro de 2018): 246–60. http://dx.doi.org/10.1177/0142064x18804435.

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The violence of Revelation remains problematic. This study offers a literary-critical analysis of the text with postcolonial theory and an intertextual foray into 1 Kgs 19. It argues that God does not speak in direct voice as a character in the story until 21.5. Places where commentators understand a voice to be God’s are undercut by an underdetermined text. Since the implied author avoids bringing God onto the stage to authorize events, the narrator assumes that a proliferation of loud heavenly voices provides authorization of the visions and their violence. The narrator is demonstrably unreliable. At the end of the visions and in the epilogue the ‘still small voice’ of God and Jesus’ quiet voice speak. Both undercut the narrator’s interpretation of the visions. And by speaking quietly in present tense and without decibel adjectives it forces us to go back and reread the whole for how God is now renewing all creation and Jesus is now offering the water of the River of Life. The violence will need to be read as something other than it at first appeared.

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Bisbo, Laura. "Breathy Voice and Fundamental Frequency: Portraying Gender in The Danish Girl". Leviathan: Interdisciplinary Journal in English, n.º 2 (15 de março de 2018): 71–91. http://dx.doi.org/10.7146/lev.v0i2.104694.

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This paper investigated how breathy voice and fundamental frequency relate to perceptions of gender and femininity, and how this is portrayed in the movie The Danish Girl. The aim of analysing The Danish Girl was to investigate whether Eddy Redmayne, who plays the main character, a male-to-female transgender person, uses breathy voice and F0 to portray a transition in gender and femininity in the character. While results were not clear-cut, they indicate that Eddy Redmayne has made alterations to his F0 and amount of breathiness. The investigation of how these phenomena are used in The Danish Girl may provide further evidence of how the investigated phenomena are used in real-life, however, it should be acknowledged that The Danish Girl shows merely a portrayal of how these phenomena are used by a character and thus does not necessarily represent how females and male-to-female individuals actually use F0 and breathy voice.

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Rahhal, Tamara A., Cynthia P. May e Lynn Hasher. "Truth and Character: Sources That Older Adults Can Remember". Psychological Science 13, n.º 2 (março de 2002): 101–5. http://dx.doi.org/10.1111/1467-9280.00419.

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Are age differences in source memory inevitable? The two experiments reported here examined the hypothesis that the type of source information being tested mediates the magnitude of age differences in source memory. In these studies, participants listened to statements made by two different speakers. We compared younger and older adults' source memory in a traditional perceptual source task (memory for voice) and in two affective, conceptually based source tasks (truth of the statements, character of a person in a photo). In both studies, the perceptual and conceptual source information were conveyed in the same manner, as one speaker was associated with one type of information (e.g., female voice speaks truth). Age differences were robust for decisions regarding who said each statement but were negligible for truth or character decisions. These findings are provocative because they suggest that the type of information can influence age-related patterns of performance for source-conveyed information.

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Cui, Zhenhua, Yanping Yang e Yanping Yang. "THE NARRATOR IN DORIS LESSING’S THE FIFTH CHILD". Advances in Social Sciences Research Journal 7, n.º 9 (14 de setembro de 2020): 174–82. http://dx.doi.org/10.14738/assrj.79.8823.

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This paper reviewed the theoretic classification on narrator of fictions. The narrator of THE FIFTH CHILD was described according to voice and point of view. The conclusion is the narrator in the famous fiction of Doris Lessing’s was omniscient, heterodiegetic/non-character, overt and reliable in its voice. While the fiction was narrated with the shift of multifocalizers in the point of view both from a character, Harriet, who witnessed the events, and from a heterodiegetic narrator, who made comments and questions to focus the readers’ attention on what he narrates.

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Lavan, Nadine, Luke FK Burston, Paayal Ladwa, Siobhan E. Merriman, Sarah Knight e Carolyn McGettigan. "Breaking voice identity perception: Expressive voices are more confusable for listeners". Quarterly Journal of Experimental Psychology 72, n.º 9 (21 de março de 2019): 2240–48. http://dx.doi.org/10.1177/1747021819836890.

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The human voice is a highly flexible instrument for self-expression, yet voice identity perception is largely studied using controlled speech recordings. Using two voice-sorting tasks with naturally varying stimuli, we compared the performance of listeners who were familiar and unfamiliar with the TV show Breaking Bad. Listeners organised audio clips of speech with (1) low-expressiveness and (2) high-expressiveness into perceived identities. We predicted that increased expressiveness (e.g., shouting, strained voice) would significantly impair performance. Overall, while unfamiliar listeners were less able to generalise identity across exemplars, the two groups performed equivalently well when telling voices apart when dealing with low-expressiveness stimuli. However, high vocal expressiveness significantly impaired telling apart in both the groups: this led to increased misidentifications, where sounds from one character were assigned to the other. These misidentifications were highly consistent for familiar listeners but less consistent for unfamiliar listeners. Our data suggest that vocal flexibility has powerful effects on identity perception, where changes in the acoustic properties of vocal signals introduced by expressiveness lead to effects apparent in familiar and unfamiliar listeners alike. At the same time, expressiveness appears to have affected other aspects of voice identity processing selectively in one listener group but not the other, thus revealing complex interactions of stimulus properties and listener characteristics (i.e., familiarity) in identity processing.

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NISHIDA, Makiko, Tomio WATANABE e Yutaka ISHII. "Speech-driven embodied entrainment character system with a voice back-channel". Transactions of the JSME (in Japanese) 85, n.º 880 (2019): 19–00159. http://dx.doi.org/10.1299/transjsme.19-00159.

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JOHNSON, BRUCE. "Hamlet: voice, music, sound". Popular Music 24, n.º 2 (maio de 2005): 257–67. http://dx.doi.org/10.1017/s0261143005000413.

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The literary canonisation of Hamlet means that it is now most frequently encountered as a printed text. This crucially reconfigures its character, since Shakespeare wrote for sound, not print, and for an audience habituated to finely nuanced auditory semiotics. Hamlet generates its own soundscape as the major bearer of meanings. Apart from dialogue, its complex repertoire of auditory effects includes instrumental music and song. If we examine the play as an acoustic experience, we can situate it more ‘soundly’ in its epoch, and perhaps also reinterpret its puzzles, most notably Hamlet's procrastination, an issue that only began to be raised by later critics working in a more print-oriented era. If we reclaim the sonic dimensions of the play, his inexplicable indecisiveness may be seen as the point, not the puzzle, of the play, and a metaphor of the liminal epistemology of Shakespeare's age.

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Moreno-Álvarez, Alejandra. "De Kretser’s Retelling of a Ghost Love Story". Humanities 9, n.º 3 (19 de agosto de 2020): 87. http://dx.doi.org/10.3390/h9030087.

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Australian author Michelle de Kretser addresses in her literary work ideas of home and belonging. In Springtime. A Ghost Story (2014) the author gives voice to an ambiguous and variable subject who coexists with her past, present and future, inhabiting a fluid trans-space where love has a principal role. Frances, the main character in Springtime, sees ghosts who unconsciously allow her to voice her insecurities and doubts concerning her life existence. These phantoms contribute to the formation of Frances’ alternative conceptualization of subjectivity. At the same time, de Kretser offers in this dystopic novella a much-needed escape from binary definitions of inclusion/exclusion, offering palimpsests of the spaces that Frances inhabits—Melbourne, Sydney and Paris. This main character is a fluid flâneuse who tries to adjust to her glocality constituted and reconstituted by a discursive imaginary. In this article, I analyze how de Kretser subverts ghost story patterns, destabilizes binary thinking, and decentralizes the human subject offering the reader an alternative haunting love story with an open ending, where cities, ghosts, humans, dogs and nature become active characters who are-in-this-together-but-who-are-not-one-and-the-same.

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Esformes, Maria. "The Sephardic Voice of Elias Canetti". European Judaism 33, n.º 1 (1 de março de 2000): 109–17. http://dx.doi.org/10.3167/ej.2000.330114.

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One of the most fascinating memoirs to appear in recent years is that of Elias Canetti, recipient of the 1981 Nobel Prize in Literature. his three-volume spiritual and intellectual autobiography is a complex and insightful rendering of his personal background and his creative development as a novelist, philosopher, and social critic. However, Canetti's autobiography is much more than a compelling account of the development of a great artist – it is a portrait of the tragic character of an entire era that witnessed the destruction of cultures and the way of life o many Jewish communities throughout Europe.

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Arellano, Diana, Javier Varona e Francisco J. Perales. "Why Do I Feel Like This?" International Journal of Synthetic Emotions 2, n.º 2 (julho de 2011): 28–47. http://dx.doi.org/10.4018/jse.2011070102.

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One of the milestones in creation of virtual characters is the achievement of believability, which can be done through the representation of emotions using behaviours, voice, or facial expressions. To know which emotions to elicit in a variety of situations it is necessary to have a framework for reasoning, which is why context representation is important when creating synthetic emotions. It provides a description of what is occurring around the character, eliciting different emotions in the same situation or the same emotions in different situations. The novelty of this work is the representation of context, not only as events in the world, but also as the internal characteristics of the character, which when related with the events, give believable emotional responses.

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A, Divya. "The Voice Of The Voiceless: The Cognisance Of Psychosocial Influence On Prenatal Learning In Ian Mcewan’s Nutshell". Think India 22, n.º 3 (25 de setembro de 2019): 966–71. http://dx.doi.org/10.26643/think-india.v22i3.8434.

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Abhimanuyu and Prahalada are ancient Indian mythological characters possessing strong dominant roles because of their prenatal learning and character. An individual human character and his practices are formed in his mother’s womb. As parents, they just consider about the physical improvement of the unborn baby in the womb, not the psychic development. The pre-birth learningsarefoundation for one’s behavioural, cognitive and emotional qualities. Unborn babies are very much impacted by their outer environmentsand the other maternal influences, when they are in their womb. Every individualat one point or the other must experience this phase of life, so it is important to analyse the impacts of external environmental influence in one's pre-birth and perinatal period. This research paper explores the necessity of maternal learning and its impacts on an unborn child, and how the infants are obtaining basic developmental knowledge and ideological insights with reference to Ian McEvan’s Nutshell.

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Robinson, Paul. "The opera queen: A voice from the closet". Cambridge Opera Journal 6, n.º 3 (novembro de 1994): 283–91. http://dx.doi.org/10.1017/s095458670000433x.

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At one point in Paul Rudnick's play, Jeffrey, the title character, who claims to have slept with 5000 different men, speaks directly to the audience: ‘I know it's wrong to say that all gay men are obsessed with sex. Because that's not true. All human beings are obsessed with sex. All gay men are obsessed with opera.’

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Holahan, Michael. ""Look, Her Lips": Softness of Voice, Construction of Character in King Lear". Shakespeare Quarterly 48, n.º 4 (1997): 406. http://dx.doi.org/10.2307/2871252.

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Sowa, Klaudia, Anna Łobaczuk-Sitnik, Bartosz Piszczatowski, Emilia Duchnowska, Bożena Kosztyła-Hojna, Klaudiusz Nadolny, Jerzy Robert Ładny e Maciej Zdrojkowski. "SPECIFICS AND DIAGNOSTIC PROCEDURE IN REFLUX-RELATED DYSPHONIA". Wiadomości Lekarskie 73, n.º 4 (2020): 814–17. http://dx.doi.org/10.36740/wlek202004137.

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Voice is a work tool for many professional groups. Currently, cases of dysphonia of multiple origin consist a growing issue. Voice disorders may result from disturbed voice production process, congenital defects, post-traumatic conditions, chronic diseases or hormonal disorders. Chronic diseases causing voice disorders include laryngopharyngeal reflux disease and esophageal reflux disease. The chronic character of reflux causes the formation of numerous morphological changes of the larynx, including: hyperemia of the mucosa limited to arytenoid and intraarytenoid area, edema of the vocal folds, edema of the larynx mucosa. These changes contribute to voice disorders. Among the pathological changes of voice organ etiologically associated with reflux, the following disease units may be distinguished: reflux laryngitis, subglottic edema, contact ulceration, larynx granuloma, larynx and pharynx cancer. Many of disorders in the upper respiratory tract are etiologically related to reflux, e.g. dysphonia, grunting, coughing and dyspnoea.

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Mitrovic, Slobodan. "Subjective acoustic analysis of tumor’s dysphonia using 'rbh' scale". Srpski arhiv za celokupno lekarstvo 131, n.º 1-2 (2003): 40–42. http://dx.doi.org/10.2298/sarh0302040m.

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The goal of psycho acoustic or subjective voice analysis, in a phoniater's everyday work, is to describe a subjective experience based on the physical parameters created in the process of phonation. The work was a clinical prospective study and the sample consisted of 80 people of both sexes, 40 people with benign and pseudo tumors of vocal cords and 40 people with malign tumors of vocal cords. All the patients were otorinolaringologically and phoniatrically examined. The subjective acoustic analysis was done with the patients pronouncing numbers from 1 to 10 in the comfortable zone. Afterwards, the quality of the voices was estimated in RBH scale. The subjective acoustic analysis found roughness in the voices of 87,50% patients in the first group and the most frequent value was Mod=3 ( intense roughness), 62,50% patients. Hoarseness was present in 90,00 % cases , with largest value Mod=2 (moderate hoarseness), 55,00% patients. In the second group, roughness existed in the voices of 70,00% patients, most often intense one (Mod=3), 30,00% patients. Hoarseness existed in 95,00% cases, 45,00% with moderate (Mod=2) and 35,00% with intense one. T test showed that there is a statistically significant difference between the strength of the roughness determined by the subjective acoustic analysis in the first and the second group, with p<0,01. The difference between the strength of the hoarseness in the first and the second group is also statistically significant, with p<0,01. All the growths on vocal cords irrespective of their nature change the characteristics of the voice, most of all its clearness. In cases of vocal cords tumors, by the subjective acoustic analysis, i.e. the perception of the psycho physiological characteristics of voice, a human ear can register pathological phenomena of the voice but cannot determine the character of the growth on the vocal cords.

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Huang, Shiying. "Struggle Between the Real and the Fictive: The Development of Chinese EFL Learners’ Voice Construction in Short Story Writing". English Language Teaching 12, n.º 9 (7 de agosto de 2019): 22. http://dx.doi.org/10.5539/elt.v12n9p22.

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The issue of voice has received considerable critical attention in second language writing (SLW) in the past decades. This study intends to enrich the research of voice in the Chinese context, which may mirror some issues in EFL environments. The short story writing process of an English-major undergraduate was particularly analyzed in this study, based on Canagarajah’s (2014) analytical framework for voice analysis. After tracking the writing process for five weeks, it could be found that the student could deliver a rather satisfactory voice effect through her text, although she went through some struggle in the dialogic process. The narrative voice, the plot structure and the character were major features that the student focused on to convey her ideas. The study also provides some insights to EFL/ESL teachers about assisting students to express themselves in English writing.

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Collins, Simon, e Jeremy Rose. "Case Studies: City Voice, an alternative to the corporate model". Pacific Journalism Review : Te Koakoa 10, n.º 2 (1 de setembro de 2004): 32–45. http://dx.doi.org/10.24135/pjr.v10i2.803.

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In this commentry, we first place City Voice in an historical media context. We then outline the history of the publication: its purpose, its contents and character, its role in the Wellington community, its ownership and finance, and the reasons for its eventual closure. Finally, we draw some conclusions.

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Yang, Juan. "What makes learning Chinese characters difficult? The voice of students from English secondary schools". Journal of Chinese Writing Systems 2, n.º 1 (março de 2018): 35–41. http://dx.doi.org/10.1177/2513850217748501.

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This study initially investigated the beliefs of beginner learners of Chinese as a foreign language (CFL) about the difficulties of learning Chinese and how they can overcome the difficulties they encounter. Pupils (179) from two state secondary schools in England responded to a Likert scale questionnaire and shared their views in interviews. Surprisingly, pupils think that character recognition is more difficult than their production. They also showed their concern about homophones in Chinese and the lack of links between the sound and logography of characters. In order to make good progress in learning Chinese, students overwhelmingly agreed that they should put effort into it. Some of these findings relate to particular aspects of learning Chinese, such as characters and homophones. Other findings, however, are unrelated to the language demands of Chinese and suggest that the practices of learning Chinese have a particular impact on the views of learners about who can learn Chinese and what it takes to be successful. We suggest that these beliefs may be empowering for language learners in an English context.

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Olszewski, Jurek, e Joanna Nowosielska‑Grygiel. "New diagnostic methods of evaluation of voice activity for phoniatrists’ and speech therapists’ needs". Logopaedica Lodziensia, n.º 1 (30 de dezembro de 2017): 91–99. http://dx.doi.org/10.18778/2544-7238.01.08.

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The aim of the study was to present new diagnostic methods of evaluation of voice activity for phoniatrists’ and speech therapists’ needs. The voice formation depends not only on the correct contraction and vibration of the vocal cords, which reinforce the acoustic Energy of the fundamental tone, but also on the function of the resonant cavities and articulatory organs, affecting the timbre and the production of sound elements of speech, that is sounds. The European Society of Laryngology has proposed a diagnostic protocol since 2001. It recommends: videolaryngostroboscopy (VLS), acoustic examination and voice self‑assessment, except for interview and physical examination. Examination of acoustic parameters allows for objective analysis of the larynx tone. This is an important and only advantage of this method. Comprehensive voice analysis includes subjective and objective examinations, evaluating, based on GRBAS scale, the voice character and different modifications of voice malfunction, that specify functional, emotional and physical condition of examined person, may determine how the extent of the voice disorder may affect quality of life. They allow to determine proper etiology, make a diagnosis, plan the treatment schedule and follow up voice disorder effects of treatment.

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Nie, Baoyu. "Research on the Image Culture — A Narrative Study on Jennifer Egan’s The Keep". Journal of Language Teaching and Research 8, n.º 3 (2 de maio de 2017): 601. http://dx.doi.org/10.17507/jltr.0803.20.

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Renovating the Gothic tradition by applying a male voice to narrate the story and by leaving it an open ending in The Keep, Jennifer Egan revitalizes the Gothic fiction and at the same time makes it her own. The metafictional narrative in the story is noticed by the interruptions of another character’s voice into the ongoing narrative of the main story. However, Egan’s tactics, do not achieve at the expense of character and story; all the characters in this fiction are imprisoned either physically or mentally. In The Keep, Egan takes a bird’s eye view of the image culture, it also concerns more about our connectedness with technology and how that connection changes the way that who we are to ourselves and who we are to each other. So often we are dealing with something ephemeral and virtual instead of actual beings, our measure of what they mean to communication is very different as well.

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Murphy, Terence Patrick. "‘Getting rid of that standard third party narrative voice’: the development of James Kelman’s early authorial style". Language and Literature: International Journal of Stylistics 15, n.º 2 (maio de 2006): 183–99. http://dx.doi.org/10.1177/0963947006063746.

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James Kelman’s short story ‘An Old Pub near the Angel’ appeared in his first collection of stories, An Old Pub near the Angel, And Other Stories in 1973, and was subsequently revised by the writer for inclusion in Not Not While The Giro, And Other Stories (1983). Through a close examination of these revisions, the article elaborates on Kelman’s efforts to free himself from the constraints of what he terms ‘that standard third party narrative voice’. The article analyses such aspects of the writer’s revision process as typographical and textual re-blocking as well as the reconfiguration of the relations between narrative voice, character zone and dialogic monologue. It is contended that Kelman’s rejection of the orthodox view on narrative voice has been central in his creative exploration of working-class voice.

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Enache, Cǎtǎlin. "Character, voice and the limits of dietetics in Hippocrates’ De victu I 36". Wiener Studien 129 (2016): 71–92. http://dx.doi.org/10.1553/wst129s71.

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