Teaching Machiavelli, Or How I Learned to Love the Prince
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Tesis En El Extranjero Y Mi Amazon.Com Personalizado
UNIVERSIDAD CATÓLICA ANDRÉS BELLO Facultad de Humanidades y Educación Escuela de Comunicación Social Mención Artes Audiovisuales “Trabajo de Grado” DE PIEDRADURA A SPRINGFIELD ANÁLISIS DEL LENGUAJE AUDIOVISUAL EN DOS SERIES DE DIBUJOS ANIMADOS Tesista María Dayana Patiño Perea Tutor: Valdo Meléndez Materán CARACAS, VENEZUELA 2004 A mis padres, Higgins y Francia. AGRADECIMIENTOS A Dios, por todas sus bendiciones. A mi papá, mi gran amor. Tu me has enseñado a sentarme y pensar, a levantarme y seguir y a luchar para conseguir mi lugar en esta vida. Eres mi mejor ejemplo y mi más grande orgullo. A mi mamá, por tu amor, tu nobleza, tu sabiduría y tu apoyo incoanaal ndicional, no importa la hora ni las distancias. Eres la mujer más maravillosa del mundo y yo tengo la suerte de que seas mi compañía y mi descanso en cada paso que doy. A mis hermanos, hermanas, cuñadas, tíos y primos, porque cada uno, alguna vez, sacó un momento de su tiempo para preguntar ¿cómo va la tesis? y, considerando el tamaño, ¿a quién se le puede olvidar una pregunta que te han hecho unas doscientas veces?...Los quiero a todos, infinitas gracias. A María Bethania Medina, Gabriela Prado y Carolina Martínez por el apoyo moral y los momentos de ocio, justificados o no, las quiero muchísimo. Gracias por tanto aguante. A Olivia Liendo, amiga, gracias por tantas sesiones de consulta cibernética y por ser, además, mi sensei y despertador personal. A Luis Manuel Obregón, mi compañero de tesis ad honorem . Primo, gracias por todo el tiempo y el apoyo que me diste para salir adelante en esto (y gracias también por todo el delivery)...muchacho, you rock! A Sasha Yánez, por la compañía durante tantos trasnochos y las conversaditas en el balcón. -
Towards Meaningful Images of the User in Design Scenarios BLYTHE, M
Representing older people: towards meaningful images of the user in design scenarios BLYTHE, M. and DEARDEN, Andy <http://orcid.org/0000-0002-5706-5978> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/9/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version BLYTHE, M. and DEARDEN, Andy (2009). Representing older people: towards meaningful images of the user in design scenarios. Universal access in the information society, 8 (1), 21-32. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Representing Older People: Towards Meaningful Images of the User in Design Scenarios MARK BLYTHE Department of Computer Science University of York York, YO10 5DD UK +44 1904 434764 +44 1904 432767 [email protected] http://www.cs.york.ac.uk/~mblythe ANDY DEARDEN Communication & Computing Research Centre Sheffield Hallam University Sheffield, S1 1WB UK +44 114 225 2916 +44 114 225 3161 [email protected] http://teaching.shu.ac.uk/aces/amd/ Category: long paper Abstract: Designing for older people requires the consideration of a range of design problems, which may be related to difficult and sometimes highly personal matters. Issues such as fear, loneliness, dependency, and physical decline may be hard to observe or discuss in interviews. Pastiche scenarios and pastiche personae are techniques that employ characters to create a space for the discussion of new technological developments and user experience. -
Body of Winlock Man Returned Home FAMILY: Michael Hughes the Body of the 38-Year-Old About 50 Members of the Pa- Making the World a Better Place
Of Hives and Bearcat Blast Comb: A Guide to W.F. West Girls Now in Title Game / Sports 1 Beekeeping / Life $1 Early Week Edition Tuesday, Feb. 18, 2014 Reaching 110,000 Readers in Print and Online — www.chronline.com Body of Winlock Man Returned Home FAMILY: Michael Hughes The body of the 38-year-old About 50 members of the Pa- making the world a better place. a car bomb into a NATO con- former Winlock triot Guard met Hughes’ family Hughes, who went by the voy at about 2:30 p.m. local time Will Be Buried in man was picked in Portland and, in the pouring name Mike, was also a soon-to- on Feb. 10, killing Hughes and Winlock After Death up by family and rain, rode on motorcycles along- be husband and stepfather, and Paul Goins, a 62-year-old fellow funeral organiz- side Hughes and his family back he had dedicated his career to contractor from Crosby, Texas, in Afghanistan ers at Portland to Lewis County. working in corrections. according to The Associated By Stephanie Schendel International The former Winlock man Hughes was one of two peo- Press. Both advisers had just left Airport and who died in a suicide blast last ple killed by a suicide bomber the prison Pul-E-Charki when [email protected] Michael Hughes escorted back week in Afghanistan was known last week in the Afghanistan a Toyota Corolla packed with Michael Hughes arrived to Winlock by to his family for his big heart, capital of Kabul. home Monday. -
A Linguistic Analysis of Postmodern Comedy by Barbara Ann Karman
Postmodern Power Plays: A linguistic Analysis of Postmodern Comedy by Barbara Ann Karman Submitted in partial Fulfillment of the Requirements for the Degree of Master ofArts in the English Program Youngstown State University August, 1998 Postmodern Power Plays: A Linguistic Analysis of Postmodern Comedy Barbara Ann Karman I hereby release this thesis to the public. I understand this thesis will be housed at the Circulation Desk of the University library and will be available for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ~ Ii q;;. ~~QL<~ Student Date Approvals: Thesis Advisor Date LC~L L}~lGl ~~b~ L~{S-.-..;;;;~ 0 --c' __(s+-II CommitteiMember 0 Date iii Abstract Postmodern Power Plays: A Linguistic Analysis of Postmodern Comedy The goal of this thesis is to first acquaint readers with the literature on humor that will be useful in analyzing postmodern comedy from a linguistic perspective. As a genre-specific theoretical tool for viewers-- and readers-- of television texts, this thesis provides a means to an end: a way to "fine tune" our perception and understanding ofpostmodern comedy, and more importantly, provide concrete means to analyze the structure and implicit messages of one of its primary modes of expression--the prime time television situation comedy. Two case studies will consider the linguistic and textual construction of The Simpsons and Home Improvement and show how each sitcom relies on a postmodern power play between competing interests to engage the audience, subvert, and yet also subtly reinforce some ofour traditional notions ofgender and family relations in a patriarchal society. -
Annual Report
ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005. -
Erzaehlen Und Selbstreflexivitaet
Erzählen und Selbstreflexivität: Glawoggers Dokumentarfilme „Megacities“ und „Workingman’s Death“ Magisterarbeit vorgelegt von: Fabian Kösters Hinweis zum Copyright: Bis auf Weiteres liegt diese Arbeit unter den strikten gesetzlichen Urheberrechts- Bestimmungen vor. Alle genutzten Zitate, Bildausschnitte und Quellenangaben sind eindeutig gekennzeichnet und werden im Sinne des "fair use" für wissenschaftliche Arbeiten verwendet. Selbstverständlich darf – nach den üblichen Regelungen (Namensnennung, Angabe des genauen Titels inkl. Link zur Quelle, Datum der letzten Abfrage) – auch aus dem vorliegenden Text zitiert werden. Ich bin auf der Suche nach einer geeigneten CreativeCommons-Lizenz oder ähnlichem. Eine Version, die unter dieser zu findenden Lizenz veröffentlicht werden soll, wird die hier vorliegende Version dann ersetzen. 22.3.2017 © Copyright by Fabian Kösters. All rights reserved. Inhalt: 1 Einleitung: Geschichten Erzählen als kulturelle Praxis .................................. 3 2 Narrativität im Dokumentarfilm...................................................................... 7 2.1 Diegese und diegetische Ebenen ........................................................... 12 2.2 Fokalisierung und Fokus ....................................................................... 15 2.3 Faktizität und Fiktionalität .................................................................... 17 2.4 Selbstreflexivität und Metareflexivität im Dokumentarfilm................. 24 2.5 Motivation und Bedeutung................................................................... -
PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2. -
The Simpsons Tapped out - Analysis and Proposed Events Overview
The Simpsons Tapped Out - Analysis and Proposed Events Overview Players like myself have faithfully enjoyed The Simpsons Tapped Out (TSTO) for several years. The developers have continued to expand the game and provide updates in response to player feedback. This has been evident in tools such as the IRS Building tap radius, the Introduction Unemployment Office Job Manager and the Cut & Paste feature, all of which are greatly appreciated by players and have extended the playability of TSTO for many of us who would have otherwise found the game too tedious to continue once their Springfields grew so large. Notably, as respects Events, positive reactive efforts were identifiable in the 2017 Winter Event and the modified use of craft currency. As evident from the forums, many dedicated and heavily-invested players have grown tired with some of TSTO's stale mechanics and gameplay, as well as the proliferation of uninspired content, much of which has little to no place in Springfield, if even the world of "The Simpsons." This Premise player attitude is often displayed in the later stages of major Events as players begin to sense monotony due to a lack in changes throughout an Event, resulting in a feeling that one is merely grinding through the game to stock up on largely unwanted Items. Content-driven major Events geared toward "The Simpsons" version of Springfield with changes of pace, more like mini-Events, and the Solution addition of new Effects, enabling a variety of looks while injecting a new degree of both familiarity and customization for players. The proposed Events and gameplay changes are steeped in canonical content rather than original content. -
Day Day One August 21
Thursday Day One August 21 2p 8:30p 9:9:9: "Life on the Fast Lane" :2222: :22"Itchy and Scratchy and Marge" 2:30p 9p :0110: :01"Homer's Night Out" :3223: :32"Bart Gets Hit by a Car" 3p 9:30p :1111: :11"The Crêpes of Wrath" :4224: :42"One Fish, Two Fish, Blowfish, Blue Fish" 3:30p :2112: :21"Krusty Gets Busted" 10p :5225: :52"The Way We Was" 4p :3113: :31"Some Enchanted Evening" 10:30p :6226: :62"Homer vs. Lisa and the 8th Commandment" Season 2: 1990 -1991 Season 1: 1989 -1990 11p 4:30p 10a :4114: :41"Bart Gets an 'F'" :7227: :72"Principal Charming" 1:1:1: "Simpsons Roasting on an Open Fire" 11:30p 5p 10:30a :5115: :51"Simpson and Delilah" :8228: :82"Oh Brother, Where Art Thou?" 2:2:2: "Bart the Genius" 5:30p 11a :6116: :61"Treehouse of Horror" 3:3:3: "Homer's Odyssey" 6p 11:30a :7117: :71"Two Cars in Every Garage and Three Eyes on Every Fish" 4:4:4: "There's No Disgrace Like Home" 12p 6:30p 5:5:5: "Bart the General" :8118: :81"Dancin' Homer" 12:30p 7p 6:6:6: "Moaning Lisa" :9119: :91"Dead Putting Society" 1p 7:30p 7:7:7: "The Call of the Simpsons" :0220: :02"Bart vs. Thanksgiving" 1:30p 8p 8:8:8: "The Telltale Head" :1221: :12"Bart the Daredevil" Friday Day Two August 22 6a 1p 5p Season 2: 1990 -1991 (cont'd) 414141:41 ::: "Like Father, Like Clown" 555555:55 ::: "Colonel Homer" 636363:63 ::: "Lisa the Beauty Queen" 12a 292929:29 ::: "Bart's Dog Gets an "F"" 6:30a 1:30p 5:30p 424242:42 ::: "Treehouse of Horror II" 565656:56 ::: "Black Widower" 646464:64 ::: "Treehouse of Horror III" 12:30a 303030:30 ::: "Old Money" 7a 2p 6p 434343:43 ::: -
{Dоwnlоаd/Rеаd PDF Bооk} Babysitting Bandit
BABYSITTING BANDIT PDF, EPUB, EBOOK Carolyn Keene,Macky Pamintuan | 96 pages | 01 Jan 2010 | SIMON & SCHUSTER | 9781416978138 | English | New York, NY, United States Simpsons Babysitter Bart The episode was first directed by Kent Butterworth. Klasky-Csupo , the animation studio that produced the earlier Simpsons shorts, was in charge of the animation, with one exception. During the years of producing the shorts, everything was created in-house. The producers felt the animation did not exhibit a distinct style envisioned for the show. At the time, there were only a few choices for animation style; usually, animators would follow the styles of Disney , Warner Bros. Disney and Warner Bros. Meanwhile, Hanna-Barbera's style relied on exaggerated sound effects, which they did not want to use either. The producers considered aborting the series if the next episode, " Bart the Genius ", turned out as this episode, but fortunately it turned out to suffer only a few easily-fixed problems. The premiere then switched to " Simpsons Roasting on an Open Fire ", which had to be aired in December; being a Christmas special. Directorial retakes were handled by David Silverman , who already had considerable experience directing the shorts. Most of these retakes consisted of changing the backgrounds. The result is an episode where the animation is uneven because it shifts between the early animation and the retakes. The episode featured several early character designs; Moe Szyslak has black hair in this episode, which was later changed to grey, while Barney Gumble has yellow hair, which was later changed to brown in order to differentiate the character's hair color from that of his skin. -
“Can't Sleep, Clowns Will Eat
bsix 1. Fahne SL 26 05.12.2011 324 Mathias Clasen “Can’t Sleep, Clowns Will Eat Me” Telling Scary Stories Mathias Clasen “Among the earliest forms of human self-awareness was the awareness of being meat.” (Quammen 2004, p. 3) I. Lost in the Woods Ordinary people rarely get lost in the woods during wild witch-hunts. Never- theless, this is basically the plot line of the stupendously successful horror film The Blair Witch Project (1999),1 which was produced for $35,000 and grossed almost a quarter of a billion US dollars worldwide.2 Why would any- one pay good money to sit in for an hour and a half on such a film? Why would anyone care? The horror genre continues to draw large audiences in literature, film, and interactive entertainment. It might seem strange that vicarious fear and anxiety are sought out by many people, maybe especially when considering the relative safety of modern urban environments. As William James pointed out in 1892, the “progress from brute to man is characterised by nothing so much as by the decrease in frequency of proper occasions for fear” (James 1920, p. 408). To understand the present, we must know the past and the forces that hammered and twisted our species into shape. One problem reliably faced by our forebears in the “environment of evolutionary adaptedness”–the hypothetical, statistical conglomerate of selective pressures which shaped Homo sapiens – was that of predators. Even if modern, civilized existence of- fers little in the way of true peril, our species grew up in a dangerous world. -
Neural Correlates of Humor Detection and Appreciation
www.elsevier.com/locate/ynimg NeuroImage 21 (2004) 1055–1060 Neural correlates of humor detection and appreciation Joseph M. Moran, Gagan S. Wig, Reginald B. Adams Jr., Petr Janata, and William M. Kelley* Department of Psychological and Brain Sciences, Center for Cognitive Neuroscience, Dartmouth College, Hanover, NH 03755, USA Received 22 July 2003; revised 2 October 2003; accepted 8 October 2003 Humor is a uniquely human quality whose neural substrates remain appreciation. Specifically, humor detection might depend critical- enigmatic. The present report combined dynamic, real-life content and ly on brain pathways involved in understanding and resolving event-related functional magnetic resonance imaging (fMRI) to ambiguities between situational expectations and surprising out- dissociate humor detection (‘‘getting the joke’’) from humor appreci- comes, whereas humor appreciation might rely primarily upon ation (the affective experience of mirth). During scanning, subjects engagement of limbic pathways involved in the processing and viewed full-length episodes of the television sitcoms Seinfeld or The expression of affect. Simpsons. Brain activity time-locked to humor detection moments revealed increases in left inferior frontal and posterior temporal Thus far, there is no clear consensus on the neural under- cortices, whereas brain activity time-locked to moments of humor pinnings subserving elements of humor. Work in the patient appreciation revealed increases in bilateral regions of insular cortex domain has suggested hemispheric differences such that the left and the amygdala. These findings provide evidence that humor hemisphere may be responsible for integrating information into a depends critically upon extant neural systems important for resolving coherent manner to understand a joke, whereas the right hemi- incongruities (humor detection) and for the expression of affect (humor sphere may be responsible for emotional processing associated appreciation).