As You Like It: Personalized Database Visualization Using a Visual Language

2001 ◽  
Vol 12 (5) ◽  
pp. 525-549 ◽  
Author(s):  
ISABEL F. CRUZ ◽  
PETER S. LEVEILLE
Keyword(s):  
Visual Language ◽  
As You Like It ◽  
Database Visualization

Shakespeare's Representation of Weather, Climate and Environment

2019 ◽  
Author(s):  
Sophie Chiari
Keyword(s):  
Early Modern ◽  
Free Will ◽  
Religious Beliefs ◽  
Early Modern England ◽  
Literary Texts ◽  
Romeo And Juliet ◽  
Midsummer Night's Dream ◽  
The Tempest ◽  
As You Like It ◽  
Ability To Act

While ecocritical approaches to literary texts receive more and more attention, climate-related issues remain fairly neglected, particularly in the field of Shakespeare studies. This monograph explores the importance of weather and changing skies in early modern England while acknowledging the fact that traditional representations and religious beliefs still fashioned people’s relations to meteorological phenomena. At the same time, a growing number of literati stood against determinism and defended free will, thereby insisting on man’s ability to act upon celestial forces. Yet, in doing so, they began to give precedence to a counter-intuitive approach to Nature. Sophie Chiari argues that Shakespeare reconciles the scholarly views of his time with more popular ideas rooted in superstition and that he promotes a sensitive, pragmatic understanding of climatic events. She pays particular attention to A Midsummer Night’s Dream, Romeo and Juliet, As You Like It, Othello, King Lear, Anthony and Cleopatra, and The Tempest. Taking into account the influence of classical thought, each of the book’s seven chapters emphasises specific issues (e.g. cataclysmic disorders, the dog days’ influence, freezing temperatures, threatening storms) and considers the way climatic events were presented on stage and how they came to shape the production and reception of Shakespeare’s drama.

Analisis Tata Ungkap Dalam Dan Luar Pada Film Animasi Pendek Death Of The Firstborn Egyptians

2019 ◽  
Vol 2 (02) ◽  
pp. 31-42
Author(s):  
Citra Kemala Putri
Keyword(s):  
Technological Progress ◽  
Qualitative Method ◽  
Space Time ◽  
Visual Language ◽  
Language Theory ◽  
Still Images ◽  
Language System ◽  
Visual Study ◽  
Moving Images ◽  
Animated Films

Visual Language is a knowledge that can be used to interpret various images those presented without text. Primadi Tabrani divides this Visual Language into 2 systems, the visual language system called NPM (Naturalist-Perspective-Momenopname) and another visual language system is STP (Space-Time-Plane). At this time which the technological progress has been developing very rapidly, we met many types of images, not just still images, but also moving images such as animated films, one of them is Death Of The Firstborn Egyptians directed by Nina Paley. This research uses qualitative method and uses the Visual Language Theory in analyzing the various visual towards the visuals of this film. The results of a visual study of this film revealed that there was a slice between Modern ‘Tata Ungkap Dalam’ and Traditional ‘Tata Ungkap Dalam’. Meanwhile,  the researh found that Modern ‘Tata Ungkap Luar’ is dominantly use on the film. Thus it can be concluded that the RWD visual language system is not used to produce traditional images only, but also can be combined with NPM visual language system, those could enrich the result of finishing visual.

Translating Verbal and Visual Language in The Piano

Perspectives ◽  
2007 ◽  
Vol 15 (3) ◽  
pp. 177
Author(s):  
Z. Pettit
Keyword(s):  
Visual Language

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

Introduction

2018 ◽  
Author(s):  
Bernard Capp
Keyword(s):  
Sibling Relationship ◽  
King Lear ◽  
As You Like It ◽  
Parents And Children ◽  
The Family

This chapter introduces the issues, surveys briefly the existing literature, and sets out the scope of the book. It summarizes contemporary views on the appropriate relationship between siblings, especially the rights and responsibilities of an elder brother towards his sisters and younger brothers. Contemporaries saw these as grounded in both nature and scripture, but recognized too the strength of sibling rivalries and resentments over favouritism and inheritance. These were often explored in contemporary drama, such as Shakespeare’s As You Like It and King Lear, and in social commentaries and polemic. The imagery of brotherhood and sisterhood pervaded the language as well as literature of the period, both as tokens of friendship and (in the case of elder/younger brothers) of oppression within the family. In language as in life, the sibling relationship was a heated and divisive issue for both parents and children.

scholarly journals The Language of Vision*

Perception ◽  
2021 ◽  
pp. 030100662199149
Author(s):  
Patrick Cavanagh
Keyword(s):  
Visual System ◽  
Language Planning ◽  
Spoken Language ◽  
Visual Language ◽  
Visual Scene ◽  
Visual Environment ◽  
Acquisition Process ◽  
Visual Processes ◽  
First Pass

The descriptions of surfaces, objects, and events computed by visual processes are not solely for consumption in the visual system but are meant to be passed on to other brain centers. Clearly, the description of the visual scene cannot be sent in its entirety, like a picture or movie, to other centers, as that would require that each of them have their own visual system to decode the description. Some very compressed, annotated, or labeled version must be constructed that can be passed on in a format that other centers—memory, language, planning—can understand. If this is a “visual language,” what is its grammar? In a first pass, we see, among other things, differences in processing of visual “nouns,” visual “verbs,” and visual “prepositions.” Then we look at recursion and errors of visual grammar. Finally, the possibility of a visual language also raises the question of the acquisition of its grammar from the visual environment and the chance that this acquisition process was borrowed and adapted for spoken language.

Women, Power & the Decline of the West: Richard Sherwin’s Ethical Wisdom, Krzysztof Koslowski’s Tricolor-Red, & Machiavelli’s Mandragola

Pólemos ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 185-201
Author(s):  
Andrew Majeske
Keyword(s):  
The West ◽  
Benito Mussolini ◽  
Western Literature ◽  
As You Like It ◽  
Moral Crisis

Abstract This essay initially identifies and explores issues relating to relativity and relativism in cultural and political matters. It highlights the problematic character of the prime virtue that liberals claim to be the product of this relativistic outlook, tolerance, and points out that relativism equally supports illiberal agendas, as emphasized by Benito Mussolini. The essay then examines Shakespeare’s profound treatment of relativity in his As You Like It, focusing especially upon Rosalind and Orlando’s riddle exchange in Act 3, Scene 2, and the related sequencing of Orlando’s poems. In closing, the essay attempts to show how the West could benefit from revisiting great works of Western literature such as As You Like It, as it grapples with its moral crisis, works which plumbed the depths of the very problems we face today. But we will only garner from these texts the lessons we truly need to learn if we set aside, if only provisionally, the historicist assumptions which have blinded us to the contemporary pertinence and value of an older wisdom which by all appearances is more profound than our own.

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