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productions</title> <meta name="description" content="Search results for: productions"> <meta name="keywords" content="productions"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="productions"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 150</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: productions</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">150</span> Analysis of Casting Call Process in Thai Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panprae%20Bunyapukkna">Panprae Bunyapukkna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to analyze the process that most of the Thai film industries commonly use in order to find the right cast to play the role. The result proved that most of the low-budget film productions find the cast by asking from the crew’s friends or friend of friend. Therefore, finding the cast in low-budget film productions normally has only few people shown up for the auditions and sometimes either none of them has acting knowledge or their appearances do not match the character. However, since most of the low-budget film productions do not have much ability to find members of the cast, thus some of them still will be selected. On the other hand, most of the high-budget film productions use modeling companies to find the cast for them. However, most of modeling agencies in Thailand seek and select their cast members from the cast’s appearances or talents rather than the knowledge of acting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=casting%20for%20film" title="casting for film">casting for film</a>, <a href="https://publications.waset.org/abstracts/search?q=modeling%20business" title=" modeling business"> modeling business</a>, <a href="https://publications.waset.org/abstracts/search?q=acting" title=" acting"> acting</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20business" title=" film business"> film business</a> </p> <a href="https://publications.waset.org/abstracts/12956/analysis-of-casting-call-process-in-thai-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">149</span> Prosodic Transfer in Foreign Language Learning: A Phonetic Crosscheck of Intonation and F₀ Range between Italian and German Native and Non-Native Speakers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Violetta%20Cataldo">Violetta Cataldo</a>, <a href="https://publications.waset.org/abstracts/search?q=Renata%20Savy"> Renata Savy</a>, <a href="https://publications.waset.org/abstracts/search?q=Simona%20Sbranna"> Simona Sbranna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Foreign Language Learning (FLL) is characterised by prosodic transfer phenomena regarding pitch accents placement, intonation patterns, and pitch range excursion from the learners’ mother tongue to their Foreign Language (FL) which suggests that the gradual development of general linguistic competence in FL does not imply an equally correspondent improvement of the prosodic competence. Topic: The present study aims to monitor the development of prosodic competence of learners of Italian and German throughout the FLL process. The primary object of this study is to investigate the intonational features and the f₀ range excursion of Italian and German from a cross-linguistic perspective; analyses of native speakers’ productions point out the differences between this pair of languages and provide models for the Target Language (TL). A following crosscheck compares the L2 productions in Italian and German by non-native speakers to the Target Language models, in order to verify the occurrence of prosodic interference phenomena, i.e., type, degree, and modalities. Methodology: The subjects of the research are university students belonging to two groups: Italian native speakers learning German as FL and German native speakers learning Italian as FL. Both of them have been divided into three subgroups according to the FL proficiency level (beginners, intermediate, advanced). The dataset consists of wh-questions placed in situational contexts uttered in both speakers’ L1 and FL. Using a phonetic approach, analyses have considered three domains of intonational contours (Initial Profile, Nuclear Accent, and Terminal Contour) and two dimensions of the f₀ range parameter (span and level), which provide a basis for comparison between L1 and L2 productions. Findings: Results highlight a strong presence of prosodic transfer phenomena affecting L2 productions in the majority of both Italian and German learners, irrespective of their FL proficiency level; the transfer concerns all the three domains of the contour taken into account, although with different modalities and characteristics. Currently, L2 productions of German learners show a pitch span compression on the domain of the Terminal Contour compared to their L1 towards the TL; furthermore, German learners tend to use lower pitch range values in deviation from their L1 when improving their general linguistic competence in Italian FL proficiency level. Results regarding pitch range span and level in L2 productions by Italian learners are still in progress. At present, they show a similar tendency to expand the pitch span and to raise the pitch level, which also reveals a deviation from the L1 possibly in the direction of German TL. Conclusion: Intonational features seem to be 'resistant' parameters to which learners appear not to be particularly sensitive. By contrast, they show a certain sensitiveness to FL pitch range dimensions. Making clear which the most resistant and the most sensitive parameters are when learning FL prosody could lay groundwork for the development of prosodic trainings thanks to which learners could finally acquire a clear and natural pronunciation and intonation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=foreign%20language%20learning" title="foreign language learning">foreign language learning</a>, <a href="https://publications.waset.org/abstracts/search?q=German" title=" German"> German</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian" title=" Italian"> Italian</a>, <a href="https://publications.waset.org/abstracts/search?q=L2%20prosody" title=" L2 prosody"> L2 prosody</a>, <a href="https://publications.waset.org/abstracts/search?q=pitch%20range" title=" pitch range"> pitch range</a>, <a href="https://publications.waset.org/abstracts/search?q=transfer" title=" transfer"> transfer</a> </p> <a href="https://publications.waset.org/abstracts/93831/prosodic-transfer-in-foreign-language-learning-a-phonetic-crosscheck-of-intonation-and-f0-range-between-italian-and-german-native-and-non-native-speakers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93831.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">286</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">148</span> Duration of Isolated Vowels in Infants with Cochlear Implants</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paris%20Binos">Paris Binos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present work investigates developmental aspects of the duration of isolated vowels in infants with normal hearing compared to those who received cochlear implants (CIs) before two years of age. Infants with normal hearing produced shorter vowel duration since this find related with more mature production abilities. First isolated vowels are transparent during the protophonic stage as evidence of an increased motor and linguistic control. Vowel duration is a crucial factor for the transition of prelexical speech to normal adult speech. Despite current knowledge of data for infants with normal hearing more research is needed to unravel productions skills in early implanted children. Thus, isolated vowel productions by two congenitally hearing-impaired Greek infants (implantation ages 1:4-1:11; post-implant ages 0:6-1:3) were recorded and sampled for six months after implantation with a Nucleus-24. The results compared with the productions of three normal hearing infants (chronological ages 0:8-1:1). Vegetative data and vocalizations masked by external noise or sounds were excluded. Participants had no other disabilities and had unknown deafness etiology. Prior to implantation the infants had an average unaided hearing loss of 95-110 dB HL while the post-implantation PTA decreased to 10-38 dB HL. The current research offers a methodology for the processing of the prelinguistic productions based on a combination of acoustical and auditory analyses. Based on the current methodological framework, duration measured through spectrograms based on wideband analysis, from the voicing onset to the end of the vowel. The end marked by two co-occurring events: 1) The onset of aperiodicity with a rapid change in amplitude in the waveform and 2) a loss in formant’s energy. Cut-off levels of significance were set at 0.05 for all tests. Bonferroni post hoc tests indicated that difference was significant between the mean duration of vowels of infants wearing CIs and their normal hearing peers. Thus, the mean vowel duration of CIs measured longer compared to the normal hearing peers (0.000). The current longitudinal findings contribute to the existing data for the performance of children wearing CIs at a very young age and enrich also the data of the Greek language. The above described weakness for CI’s performance is a challenge for future work in speech processing and CI’s processing strategies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cochlear%20implant" title="cochlear implant">cochlear implant</a>, <a href="https://publications.waset.org/abstracts/search?q=duration" title=" duration"> duration</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrogram" title=" spectrogram"> spectrogram</a>, <a href="https://publications.waset.org/abstracts/search?q=vowel" title=" vowel"> vowel</a> </p> <a href="https://publications.waset.org/abstracts/64394/duration-of-isolated-vowels-in-infants-with-cochlear-implants" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64394.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">261</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">147</span> Remembrance as Contest: A Study on the Ex-Slave Religious Communities in Kerala</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sephora%20Jose">Sephora Jose</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Caste slavery was an exploitative human transactional system that prevailed in Kerala, the south-western state of India, till the late nineteenth century. In this particular system, more than ten untouchable/Dalit caste groups had been enslaved and transacted. Mainstream historiographies have subsumed caste slavery under caste servitude covering up the transactional aspect of the practice. However, there are communities in Kerala like Prathyaksha Raksha Daiva Sabha (The Divine Church of Visible Salvation) and Deva Jana Samajam (The Society of God’s People), who claim to be the descendants of the caste slaves. Being spiritual organizations, they engage with the historical reality of slavery through Dalit theology. Their theology is articulated through their oral narratives, including songs, stories, myths, and other cultural productions. This study seeks to understand how the descendants of slave castes in Kerala attempt alternative historiography through Dalit theology articulated in their cultural productions collected over fieldwork. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=caste%20slavery" title="caste slavery">caste slavery</a>, <a href="https://publications.waset.org/abstracts/search?q=Dalit%20theology" title=" Dalit theology"> Dalit theology</a>, <a href="https://publications.waset.org/abstracts/search?q=Dravidians" title=" Dravidians"> Dravidians</a>, <a href="https://publications.waset.org/abstracts/search?q=Deva%20Jana%20Samajam" title=" Deva Jana Samajam"> Deva Jana Samajam</a>, <a href="https://publications.waset.org/abstracts/search?q=Prathyaksha%20Raksha%20Daiva%20Sabha" title=" Prathyaksha Raksha Daiva Sabha"> Prathyaksha Raksha Daiva Sabha</a> </p> <a href="https://publications.waset.org/abstracts/135691/remembrance-as-contest-a-study-on-the-ex-slave-religious-communities-in-kerala" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135691.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">115</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">146</span> Attitudes Towards the Supernatural in Benjamin Britten’s The Turn of the Screw</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yaou%20Zhang">Yaou Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Relatively little scholarly attention has been paid to the production of Benjamin Britten’s chamber opera The Turn of the Screw. As one of Britten’s most remarkable operas. The story of the libretto was from Henry James’s novella of the same name. The novella was created in 1898 and one of the primary questions addressed to people in the story is “how real the ghosts are,” which leads the story to a huge ambiguity in readers’ minds. Aims: This research focuses on the experience of seeing the opera on stage over several decades. This study of opera productions over time not only provides insight into how stage performances can alter audience members' perceptions of the opera in the present but also reveals a landscape of shifting aesthetics and receptions. Methods: To examine the hypotheses in interpretation and reception, the qualitative analysis is used to examine the figures of ghosts in different productions across the time from 1954 to 2021 in the UK: by accessing recordings, newspapers, and reviews for the productions that are sourced from online and physical archives. For instance, the field research is conducted on the topic by arranging interviews with the creative team and visiting Opera North in Leeds and Britten-Pears Foundation. The collected data reveals the “hidden identity” in creative teams’ interpretations, social preferences, and rediscover that have previously remained unseen. Results: This research presents an angle of Britten’s Screw by using the third position; it shows how the attention moved from the stage of “do the ghosts really exist” to “traumatised children.” Discussion: Critics and audiences have debated whether the governess hallucinates the ghosts in the opera for decades. While, in recent years, directors of new productions have given themselves the opportunity to go deeper into Britten's musical structure and offer the opera more space to be interpreted, rather than debating if "ghosts actually exist" or "the psychological problems of the governess." One can consider and reflect that the questionable actions of the children are because they are suffering from trauma, whether the trauma comes from the ghosts, the hallucinating governess, or some prior experiences: various interpretations cause one result that children are the recipients of trauma. Arguably, the role of the supernatural is neither simply one of the elements of a ghost story nor simply one of the parts of the ambiguity between the supernatural and the hallucination of the governess; rather, the ghosts and the hallucinating governess can exist at the same time - the combination of the supernatural’s and the governess’s behaviours on stage generates a sharper and more serious angle that draws our attention to the traumatized children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=benjamin%20britten" title="benjamin britten">benjamin britten</a>, <a href="https://publications.waset.org/abstracts/search?q=chamber%20opera" title=" chamber opera"> chamber opera</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=reception" title=" reception"> reception</a>, <a href="https://publications.waset.org/abstracts/search?q=staging" title=" staging"> staging</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20turn%20of%20the%20screw" title=" the turn of the screw"> the turn of the screw</a> </p> <a href="https://publications.waset.org/abstracts/149570/attitudes-towards-the-supernatural-in-benjamin-brittens-the-turn-of-the-screw" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149570.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">108</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">145</span> Adjunct Placement in Educated Nigerian English</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juliet%20Charles%20Udoudom">Juliet Charles Udoudom</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In nonnative language use environments, language users have been known to demonstrate marked variations both in the spoken and written productions of the target language. For instance, analyses of the written productions of Nigerian users of English have shown inappropriate sequencing of sentence elements resulting in distortions in meaning and/or other problems of syntax. This study analyses the structure of sentences in the written production of 450 educated Nigerian users of English to establish their sensitivity to adjunct placement and the extent to which it exerts on meaning interpretation. The respondents were selected by a stratified random sampling technique from six universities in south-south Nigeria using education as the main yardstick for stratification. The systemic functional grammar analytic format was used in analyzing the sentences selected from the corpus. Findings from the analyses indicate that of the 8,576 tokens of adjuncts in the entire corpus, 4,550 (53.05%) of circumstantial adjuncts were appropriately placed while 2,839 (33.11%) of modal adjuncts occurred at appropriate locations in the clauses analyzed. Conjunctive adjunct placement accounted for 1,187 occurrences, representing 13.84% of the entire corpus. Further findings revealed that prepositional phrases (PPs) were not well construed by respondents to be capable of realizing adjunct functions, and were inappropriately placed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adjunct" title="adjunct">adjunct</a>, <a href="https://publications.waset.org/abstracts/search?q=adjunct%20placement" title=" adjunct placement"> adjunct placement</a>, <a href="https://publications.waset.org/abstracts/search?q=conjunctive%20adjunct" title=" conjunctive adjunct"> conjunctive adjunct</a>, <a href="https://publications.waset.org/abstracts/search?q=circumstantial%20adjunct" title=" circumstantial adjunct"> circumstantial adjunct</a>, <a href="https://publications.waset.org/abstracts/search?q=systemic%20grammar" title=" systemic grammar"> systemic grammar</a> </p> <a href="https://publications.waset.org/abstracts/192420/adjunct-placement-in-educated-nigerian-english" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192420.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">15</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">144</span> Screening of High-Alcohol Producing Yeasts for Manufacturing Process of Whisky</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Byeong-Uk%20Lim">Byeong-Uk Lim</a>, <a href="https://publications.waset.org/abstracts/search?q=Young-Ran%20Song"> Young-Ran Song</a>, <a href="https://publications.waset.org/abstracts/search?q=Sang-Ho%20Baik"> Sang-Ho Baik</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aimed to develop yeast starters for scientific alcohol production and systematic quality control of whisky. A total of 389 yeast strains were isolated from traditional Korean fermentation starter (nuruk) and rice wine (makgeolli), and ten strains were finally selected for their high alcohol productivities, in which their alcohol productions were above 17.3% (v/v) during 10 days under two steps of glucose feeding condition (30% and then 15%, w/v). By 18s rDNA sequence analysis, all strains were identified as Saccharomyces cerevisiae (SC), and they can grow well under 50% (w/v) glucose and 10% (v/v) ethanol conditions. Furthermore, the capability of ten different SC strains to ferment rice wine for whisky was studied. Rice wine was fermented with only steamed rice, water, and two types of enzymes (glucoamylase and α-amylase) during 14 days at 25 °C, and then their oenological properties have been determined. As the results, the fermented rice wines indicated the final pH range of 4.24-4.38 and acidity range of 0.12-0.18. The highest ethanol production of 20.2% (v/v) was found in the fermentation with a SC-156 strain, whereas SC-92 (16.8%) and SC-119 (16.4%) showed significantly lowest ethanol productions. In addition, the residual sugar contents showed negative correlation with alcohol contents. Moreover, this study focused on nucleotide polymorphisms in the MSN2 and MSN4 genes to investigate the cause of the defective stress responses in yeast. Consequently, it was also confirmed that the deletion of the N termini of Msn4p from identified point mutations in SC-63, SC-95, SC-156, SC-158, and SC-160 strains. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=yeast" title="yeast">yeast</a>, <a href="https://publications.waset.org/abstracts/search?q=high-alcohol" title=" high-alcohol"> high-alcohol</a>, <a href="https://publications.waset.org/abstracts/search?q=whisky" title=" whisky"> whisky</a>, <a href="https://publications.waset.org/abstracts/search?q=rice%20wine" title=" rice wine"> rice wine</a> </p> <a href="https://publications.waset.org/abstracts/41058/screening-of-high-alcohol-producing-yeasts-for-manufacturing-process-of-whisky" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41058.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">323</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">143</span> The Effect of System Parameters on the Biogas Production from Poultry Rendering Plant Anaerobic Digesters</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=N.%20Lovanh">N. Lovanh</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Loughrin"> J. Loughrin</a>, <a href="https://publications.waset.org/abstracts/search?q=G.%20Ruiz-Aguilar"> G. Ruiz-Aguilar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Animal wastes can serve as the feedstock for biogas production (mainly methane) that could be used as alternative energy source. The green energy derived from animal wastes is considered to be carbon neutral and offsetting those generated from fossil fuels. In this study, an evaluation of system parameters on methane production from anaerobic digesters utilizing poultry rendering plant wastewater was carried out. Anaerobic batch reactors and continuous flow system subjected to different operation conditions (i.e., flow rate, temperature, and etc.) containing poultry rendering wastewater were set up to evaluate methane potential from each scenario. Biogas productions were sampled and monitored by gas chromatography and photoacoustic gas analyzer over six months of operation. The results showed that methane productions increased as the temperature increased. However, there is an upper limit to the increase in the temperature on the methane production. Flow rates and type of systems (batch vs. plug-flow regime) also had a major effect on methane production. Constant biogas production was observed in plug-flow system whereas batch system produced biogas quicker and tapering off toward the end of the six-month study. Based on these results, it is paramount to consider operating conditions and system setup in optimizing biogas production from agricultural wastewater. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anaerobic%20digestion" title="anaerobic digestion">anaerobic digestion</a>, <a href="https://publications.waset.org/abstracts/search?q=methane" title=" methane"> methane</a>, <a href="https://publications.waset.org/abstracts/search?q=poultry%20rendering%20wastewater" title=" poultry rendering wastewater"> poultry rendering wastewater</a>, <a href="https://publications.waset.org/abstracts/search?q=biotechnology" title=" biotechnology"> biotechnology</a> </p> <a href="https://publications.waset.org/abstracts/27658/the-effect-of-system-parameters-on-the-biogas-production-from-poultry-rendering-plant-anaerobic-digesters" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27658.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">392</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">142</span> Dying and Sexuality − Controversial Motive in Contemporary Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ma%C5%82gorzata%20Jakubowska">Małgorzata Jakubowska</a>, <a href="https://publications.waset.org/abstracts/search?q=Monika%20Micha%C5%82owska"> Monika Michałowska</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since the beginning of the cinematographic industry, there has been a visible interest in two leading themes: death and sexuality. One of the reasons of the unfading popularity of these motives was the fact that death or sex employed as leitmotivs attracted great attention of the viewers, and this guaranteed a financial success. What seems interesting is the fact that the themes of death and sexuality/eroticism seem to be mutually exclusive in the mainstream movies to such extent that they almost never appear together on the screen. As leitmotivs they describe opposite experiences of human life, one refers to affirmation of life, the other points to atrophy and decay. This film paradigm is rarely challenged. Thus, a relatively less attention has been devoted so far to entwining dying and sexuality/eroticism in one movie. In our paper, we wish to have a closer look at the visualizations of dying with focus on the aspect of sexuality/eroticism. Our analysis will concentrate on the contemporary European and American cinema, and especially the recent productions that contribute to the cultural phenomenon of entwining the two realms of human life. We will investigate the main clichés, plot and visual schemes, motives and narrative techniques on the examples of Sweet November (2001), A Little Bit of Heaven (2011) and Now is good (2012). We will also shed some light on the recent film productions that seem to provide a shift in portraying the realms of dying and sexuality concentrating on The Garden of Earthly Delights (2003) as the most paradigmatic example. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20cinema" title="contemporary cinema">contemporary cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=dying%20and%20sexuality" title=" dying and sexuality"> dying and sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative%20techniques" title=" narrative techniques"> narrative techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=plot%20and%20visual%20schemes" title=" plot and visual schemes"> plot and visual schemes</a> </p> <a href="https://publications.waset.org/abstracts/35476/dying-and-sexuality-controversial-motive-in-contemporary-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35476.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">397</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">141</span> Production of Oral Vowels by Chinese Learners of Portuguese: Problems and Didactic Implications </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adelina%20Castelo">Adelina Castelo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The increasing number of learners of Portuguese as Foreign Language in China justifies the need to define the phonetic profile of these learners and to design didactic materials that are adjusted to their specific problems in pronunciation. Different aspects of this topic have been studied, but the production of oral vowels still needs to be investigated. This study aims: (i) to identify the problems the Chinese learners of Portuguese experience in the pronunciation of oral vowels; (ii) to discuss the didactic implications drawn from those problems. The participants were eight native speakers of Mandarin Chinese that had been learning Portuguese in College for almost a year. They named pictured objects and their oral productions were recorded and phonetically transcribed. The selection of the objects to name took into account some linguistic variables (e.g. stress pattern, syllable structure, presence of the Portuguese oral vowels in different word positions according to stress location). The results are analysed in two ways: the impact of linguistic variables on the success rate in the vowels' production; the replacement strategies used in the non-target productions. Both analyses show that the Chinese learners of Portuguese (i) have significantly more difficulties with the mid vowels as well as the high central vowel and (ii) do not master the vowel height feature. These findings contribute to define the phonetic profile of these learners in terms of oral vowel production. Besides, they have important didactic implications for the pronunciation teaching to these specific learners. Those implications are discussed and exemplified. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20learners" title="Chinese learners">Chinese learners</a>, <a href="https://publications.waset.org/abstracts/search?q=learners%E2%80%99%20phonetic%20profile" title=" learners’ phonetic profile"> learners’ phonetic profile</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistic%20variables" title=" linguistic variables"> linguistic variables</a>, <a href="https://publications.waset.org/abstracts/search?q=Portuguese%20as%20foreign%20language" title=" Portuguese as foreign language"> Portuguese as foreign language</a>, <a href="https://publications.waset.org/abstracts/search?q=production%20data" title=" production data"> production data</a>, <a href="https://publications.waset.org/abstracts/search?q=pronunciation%20teaching" title=" pronunciation teaching"> pronunciation teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20vowels" title=" oral vowels"> oral vowels</a> </p> <a href="https://publications.waset.org/abstracts/74174/production-of-oral-vowels-by-chinese-learners-of-portuguese-problems-and-didactic-implications" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74174.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">223</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">140</span> Ideology and Lexicogrammar: Discourse Against the Power in Lyrical Texts (XIII, XVII and XX Centuries)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ulisses%20Tadeu%20Vaz%20de%20Oliveira">Ulisses Tadeu Vaz de Oliveira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The development of multifunctional studies in the theoretical-methodological perspective of the Systemic-Functional Grammar (SFG) and the increasing number of critical literary studies have introduced new opportunities for the study of ideologies and societies, but also brought up new challenges across and within many areas. In this regard, the Critical Linguistics researches allow a form of pairing a textual linguistic analysis method (micro level) with a social language theory in political and ideological processes (macro level), presented in the literature. This presentation will report on strategies to criticize power holders in literary productions from three distinct eras, namely: (a) Satirical Galego-Portuguese chants of Gil Pérez Conde (thirteenth century), (b) Poems of Gregorio de Matos Guerra (seventeenth century), and (c) Songs of Chico Buarque de Holanda (twentieth century). The analysis of these productions is based on the SFG proposals, which considers the clause as a social event. Therefore, the structure serves to realize three concurrent meanings (metafunctions): Ideational, Interpersonal and Textual. The presenter aims to shed light on the core issues relevant to the successes of the authors to criticize authorities in repressive times while caring about face-threatening and politeness. The effective and meaningful critical discourse was a way of moving the society`s chains towards new ideologies reflected in the lexicogrammatical choices made and the rhetorical functions of the persuasive structures used by the authors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ideology" title="ideology">ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=persuasion" title=" persuasion"> persuasion</a>, <a href="https://publications.waset.org/abstracts/search?q=systemic-functional%20grammar" title=" systemic-functional grammar"> systemic-functional grammar</a> </p> <a href="https://publications.waset.org/abstracts/31516/ideology-and-lexicogrammar-discourse-against-the-power-in-lyrical-texts-xiii-xvii-and-xx-centuries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31516.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">418</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">139</span> Actresses as Eunuchs: The Versatility of Cross-Gendered Roles in Eighteenth-Century Orientalist Theatre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anne%20Greenfield">Anne Greenfield</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introductory Statement: During the eighteenth century in London, there were over two dozen theatrical productions that featured eunuchoid characters, most of which were set in 'Eastern' locales, including the Ottoman Empire, Persia, India, and China. These characters have gone largely overlooked by recent scholars, and more analysis is needed in order to illustrate the contemporary values and anxieties reflected in these popular and recurring figures at the time. Methodology: This paper adopts a New Historical and Cultural Studies approach to the subject of theatrical depictions of eunuchs, drawing insights from seventeenth- and eighteenth-century literary works, travel narratives, medical treatises, and histories of the age. Major Findings: As this paper demonstrates, there was a high degree of complexity, variety, and -at times- respect underlying orientalist theatrical depictions of eunuchs. Not only were eunuchoid characters represented in strikingly diverse ways in scripts, but these roles were also played by a heterogeneous group of actors and even actresses. More specifically, this paper looks closely at three actresses who took roles as eunuchs in tragedies: Mrs. Verbruggen (aka Mrs. Mountfort), Mrs. Rogers, and Mrs. Bicknell—all of whom were otherwise best known as comediennes. These casting choices provided an entertaining twist on the breeches roles these actresses often played. In fact, the staging and scripting of these roles, when analyzed through the lens of these cross-gendered roles, becomes ironic and comical in several scenes that are usually assumed (by recent scholars) to be thoroughly tragic. Conclusion: Ultimately, a careful look at the staging of eunuchoid characters sheds light on not only how these productions were performed and understood, but also on how writers and theatre managers navigated the Other, whether in gender identity or culture, during this era. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eunuch" title="eunuch">eunuch</a>, <a href="https://publications.waset.org/abstracts/search?q=actress" title=" actress"> actress</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a> </p> <a href="https://publications.waset.org/abstracts/116060/actresses-as-eunuchs-the-versatility-of-cross-gendered-roles-in-eighteenth-century-orientalist-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116060.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">134</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">138</span> The Influence of Screen Translation on Creative Audiovisual Writing: A Corpus-Based Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20D.%20Sanderson">John D. Sanderson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The popularity of American cinema worldwide has contributed to the development of sociolects related to specific film genres in other cultural contexts by means of screen translation, in many cases eluding norms of usage in the target language, a process whose result has come to be known as 'dubbese'. A consequence for the reception in countries where local audiovisual fiction consumption is far lower than American imported productions is that this linguistic construct is preferred, even though it differs from common everyday speech. The iconography of film genres such as science-fiction, western or sword-and-sandal films, for instance, generates linguistic expectations in international audiences who will accept more easily the sociolects assimilated by the continuous reception of American productions, even if the themes, locations, characters, etc., portrayed on screen may belong in origin to other cultures. And the non-normative language (e.g., calques, semantic loans) used in the preferred mode of linguistic transfer, whether it is translation for dubbing or subtitling, has diachronically evolved in many cases into a status of canonized sociolect, not only accepted but also required, by foreign audiences of American films. However, a remarkable step forward is taken when this typology of artificial linguistic constructs starts being used creatively by nationals of these target cultural contexts. In the case of Spain, the success of American sitcoms such as Friends in the 1990s led Spanish television scriptwriters to include in national productions lexical and syntactical indirect borrowings (Anglicisms not formally identifiable as such because they include elements from their own language) in order to target audiences of the former. However, this commercial strategy had already taken place decades earlier when Spain became a favored location for the shooting of foreign films in the early 1960s. The international popularity of the then newly developed sub-genre known as Spaghetti-Western encouraged Spanish investors to produce their own movies, and local scriptwriters made use of the dubbese developed nationally since the advent of sound in film instead of using normative language. As a result, direct Anglicisms, as well as lexical and syntactical borrowings made up the creative writing of these Spanish productions, which also became commercially successful. Interestingly enough, some of these films were even marketed in English-speaking countries as original westerns (some of the names of actors and directors were anglified to that purpose) dubbed into English. The analysis of these 'back translations' will also foreground some semantic distortions that arose in the process. In order to perform the research on these issues, a wide corpus of American films has been used, which chronologically range from Stagecoach (John Ford, 1939) to Django Unchained (Quentin Tarantino, 2012), together with a shorter corpus of Spanish films produced during the golden age of Spaghetti Westerns, from una tumba para el sheriff (Mario Caiano; in English lone and angry man, William Hawkins) to tu fosa será la exacta, amigo (Juan Bosch, 1972; in English my horse, my gun, your widow, John Wood). The methodology of analysis and the conclusions reached could be applied to other genres and other cultural contexts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dubbing" title="dubbing">dubbing</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20genre" title=" film genre"> film genre</a>, <a href="https://publications.waset.org/abstracts/search?q=screen%20translation" title=" screen translation"> screen translation</a>, <a href="https://publications.waset.org/abstracts/search?q=sociolect" title=" sociolect"> sociolect</a> </p> <a href="https://publications.waset.org/abstracts/102436/the-influence-of-screen-translation-on-creative-audiovisual-writing-a-corpus-based-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102436.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">137</span> “The Day I Became a Woman” by Marziyeh Meshkiny: An Analysis of the Cinematographic Image of the Middle East</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Carolina%20Domingues">Ana Carolina Domingues</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work presents the preliminary results of the above-titled doctoral research. Based on this film and on Middle East authors who discuss films made by women, it has been concluded so far, that it is part of a larger movement, which together with other productions, show the perceptions of the world of these women, who see the world otherwise, for not holding positions of power. These modes of perception revealed from the encounter of women with the cameras, educate viewers to denaturalize the impressions constructed in relation to the Middle East. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=middle%20east" title=" middle east"> middle east</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/152988/the-day-i-became-a-woman-by-marziyeh-meshkiny-an-analysis-of-the-cinematographic-image-of-the-middle-east" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152988.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">136</span> Organizational Innovativeness: Motivation in Employee’s Innovative Work Behaviors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=P.%20T.%20Ngan">P. T. Ngan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Purpose: The study aims to answer the question what are motivational conditions that have great influences on employees’ innovative work behaviors by investigating the case of SATAMANKULMA/ Anya Productions Ky in Kuopio, Finland. Design/methodology: The main methodology utilized was the qualitative single case study research, analysis was conducted with an adapted thematic content analysis procedure, created from empirical material that was collected through interviews, observation and document review. Findings: The paper highlights the significance of combining relevant synergistic extrinsic and intrinsic motivations into the organizational motivation system. The findings show that intrinsic drives are essential for the initiation phases while extrinsic drives are more important for the implementation phases of innovative work behaviors. The study also offers the IDEA motivation model-interpersonal relationships & networks, development opportunities, economic constituent and application supports as an ideal tool to optimize business performance. Practical limitations/ implications: The research was only conducted from the perspective of SATAMANKULMA/Anya Productions Ky, with five interviews, a few observations and with several reviewed documents. However, further research is required to include other stakeholders, such as the customers, partner companies etc. Also the study does not offer statistical validity of the findings; an extensive case study or a qualitative multiple case study is suggested to compare the findings and provide information as to whether IDEA model relevant in other types of firms. Originality/value: Neither the innovation nor the human resource management field provides a detailed overview of specific motivational conditions might use to stimulate innovative work behaviors of individual employees. This paper fills that void. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=employee%20innovative%20work%20behaviors" title="employee innovative work behaviors">employee innovative work behaviors</a>, <a href="https://publications.waset.org/abstracts/search?q=extrinsic%20motivation" title=" extrinsic motivation"> extrinsic motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=intrinsic%20motivation" title=" intrinsic motivation"> intrinsic motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=organizational%20innovativeness" title=" organizational innovativeness"> organizational innovativeness</a> </p> <a href="https://publications.waset.org/abstracts/37169/organizational-innovativeness-motivation-in-employees-innovative-work-behaviors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37169.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">267</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">135</span> A Multipurpose Inertial Electrostatic Magnetic Confinement Fusion for Medical Isotopes Production</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yasser%20R.%20Shaban">Yasser R. Shaban</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A practical multipurpose device for medical isotopes production is most wanted for clinical centers and researches. Unfortunately, the major supply of these radioisotopes currently comes from aging sources, and there is a great deal of uneasiness in the domestic market. There are also many cases where the cost of certain radioisotopes is too high for their introduction on a commercial scale even though the isotopes might have great benefits for society. The medical isotopes such as radiotracers PET (Positron Emission Tomography), Technetium-99 m, and Iodine-131, Lutetium-177 by is feasible to be generated by a single unit named IEMC (Inertial Electrostatic Magnetic Confinement). The IEMC fusion vessel is the upgrading unit of the Inertial Electrostatic Confinement IEC fusion vessel. Comprehensive experimental works on IEC were carried earlier with promising results. The principle of inertial electrostatic magnetic confinement IEMC fusion is based on forcing the binary fuel ions to interact in the opposite directions in ions cyclotrons orbits with different kinetic energies in order to have equal compression (forces) and with different ion cyclotron frequency ω in order to increase the rate of intersection. The IEMC features greater fusion volume than IEC by several orders of magnitude. The particles rate from the IEMC approach are projected to be 8.5 x 10¹¹ (p/s), ~ 0.2 microampere proton, for D/He-3 fusion reaction and 4.2 x 10¹² (n/s) for D/T fusion reaction. The projected values of particles yield (neutrons and protons) are suitable for medical isotope productions on-site by a single unit without any change in the fusion vessel but only the fuel gas. The PET radiotracers are usually produced on-site by medical ion accelerator whereas Technetium-99m (Tc-99m) is usually produced off-site from the irradiation facilities of nuclear power plants. Typically, hospitals receive molybdenum-99 isotope container; the isotope decays to Tc-99mwith half-life time 2.75 days. Even though the projected current from IEMC is lesser than the proton current from the medical ion accelerator but still the IEMC vessel is simpler, and reduced in components and power consumption which add a new value of populating the PET radiotracers in most clinical centers. On the other hand, the projected neutrons flux from the IEMC is lesser than the thermal neutron flux at the irradiation facilities of nuclear power plants, but in the IEMC case the productions of Technetium-99m is suggested to be at the resonance region of which the resonance integral cross section is two orders of magnitude higher than the thermal flux. Thus it can be said the net activity from both is evened. Besides, the particle accelerator cannot be considered a multipurpose particles production unless a significant change is made to the accelerator to change from neutrons mode to protons mode or vice versa. In conclusion, the projected fusion yield from IEMC is a straightforward since slightly change in the primer IEC and ion source is required. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electrostatic%20versus%20magnetic%20confinement%20fusion%20vessel" title="electrostatic versus magnetic confinement fusion vessel">electrostatic versus magnetic confinement fusion vessel</a>, <a href="https://publications.waset.org/abstracts/search?q=ion%20source" title=" ion source"> ion source</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20isotopes%20productions" title=" medical isotopes productions"> medical isotopes productions</a>, <a href="https://publications.waset.org/abstracts/search?q=neutron%20activation" title=" neutron activation"> neutron activation</a> </p> <a href="https://publications.waset.org/abstracts/77965/a-multipurpose-inertial-electrostatic-magnetic-confinement-fusion-for-medical-isotopes-production" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77965.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">343</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">134</span> Frequency of Consonant Production Errors in Children with Speech Sound Disorder: A Retrospective-Descriptive Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amulya%20P.%20Rao">Amulya P. Rao</a>, <a href="https://publications.waset.org/abstracts/search?q=Prathima%20S."> Prathima S.</a>, <a href="https://publications.waset.org/abstracts/search?q=Sreedevi%20N."> Sreedevi N.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Speech sound disorders (SSD) encompass the major concern in younger population of India with highest prevalence rate among the speech disorders. Children with SSD if not identified and rehabilitated at the earliest, are at risk for academic difficulties. This necessitates early identification using screening tools assessing the frequently misarticulated speech sounds. The literature on frequently misarticulated speech sounds is ample in English and other western languages targeting individuals with various communication disorders. Articulation is language specific, and there are limited studies reporting the same in Kannada, a Dravidian Language. Hence, the present study aimed to identify the frequently misarticulated consonants in Kannada and also to examine the error type. A retrospective, descriptive study was carried out using secondary data analysis of 41 participants (34-phonetic type and 7-phonemic type) with SSD in the age range 3-to 12-years. All the consonants of Kannada were analyzed by considering three words for each speech sound from the Kannada Diagnostic Photo Articulation test (KDPAT). Picture naming task was carried out, and responses were audio recorded. The recorded data were transcribed using IPA 2018 broad transcription. A criterion of 2/3 or 3/3 error productions was set to consider the speech sound to be an error. Number of error productions was calculated for each consonant in each participant. Then, the percentage of participants meeting the criteria were documented for each consonant to identify the frequently misarticulated speech sound. Overall results indicated that velar /k/ (48.78%) and /g/ (43.90%) were frequently misarticulated followed by voiced retroflex /ɖ/ (36.58%) and trill /r/ (36.58%). The lateral retroflex /ɭ/ was misarticulated by 31.70% of the children with SSD. Dentals (/t/, /n/), bilabials (/p/, /b/, /m/) and labiodental /v/ were produced correctly by all the participants. The highly misarticulated velars /k/ and /g/ were frequently substituted by dentals /t/ and /d/ respectively or omitted. Participants with SSD-phonemic type had multiple substitutions for one speech sound whereas, SSD-phonetic type had consistent single sound substitutions. Intra- and inter-judge reliability for 10% of the data using Cronbach’s Alpha revealed good reliability (0.8 ≤ α < 0.9). Analyzing a larger sample by replicating such studies will validate the present study results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consonant" title="consonant">consonant</a>, <a href="https://publications.waset.org/abstracts/search?q=frequently%20misarticulated" title=" frequently misarticulated"> frequently misarticulated</a>, <a href="https://publications.waset.org/abstracts/search?q=Kannada" title=" Kannada"> Kannada</a>, <a href="https://publications.waset.org/abstracts/search?q=SSD" title=" SSD"> SSD</a> </p> <a href="https://publications.waset.org/abstracts/105635/frequency-of-consonant-production-errors-in-children-with-speech-sound-disorder-a-retrospective-descriptive-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/105635.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">134</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">133</span> Music, Politics and Modernisation in China: An Analysis of 'Red Detachment of Women'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lei%20Ping">Lei Ping</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Western discourse of ‘modernity’ along with its objects, ideologies, and culture are brought to Imperial China by force of arms which confronted Chinese traditions. The struggle and conflicts between ‘Zhong’ (Chinese) and ‘Wai' (foreign), ‘Jiu’(Old) and ‘Xin’(New) are continuous during the turbulent times of 19th Century China. Since the foundation of the People’s Republic in 1949, China has gone through radical social, economic and cultural reform under the Communist Party’s highly centralised and autocratic political regime. The regime and Chairman Mao’s eagerness to identify the new China and establish a revolutionary mono-culture have increased political influence on the modernisation process. The ten years of Cultural Revolution (1966-76) have commonly been neglected and separated from China’s modern history due to its political, emotional and various other associations. Its cultural productions which dictated the Chinese stages during this period, namely the yangbanxi (Model Works), are largely viewed as political propaganda material with little or no artistic value in the nation’s cultural development. This paper argues that far from being anti modernisation of culture, the yangbanxi carry continuities that originate from before the cultural revolution and influence later cultural productions up till today. The focus of the paper is on Hongse Niangzijun (The Red Detachment of Women), a ballet yangbanxi (Model Works) which was performed to President Nixon during his visit to China in 1972. It depicts the female soldier Wu Qionghua’s life story: a transformation from a peasant girl to a mature communist soldier. The first part of the paper begins with an introduction to the cultural, social and political contexts under which the ballet was created and made a yangbanxi (Model work). The second part examines the application of musical devices (e.g. instrumentation, leitmotif), ranging from typical Western techniques to Chinese musical and theatrical traditions. By analysing, connecting and comparing these musical devices of various origins, the paper illustrates that the yangbanxi (Model Works) largely contributes to the ever-present, continuing and evolving modernisation of contemporary Chinese culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20revolution" title="cultural revolution">cultural revolution</a>, <a href="https://publications.waset.org/abstracts/search?q=Hongse%20Niangzijun%20%28Red%20Detachment%20of%20Women%29" title=" Hongse Niangzijun (Red Detachment of Women)"> Hongse Niangzijun (Red Detachment of Women)</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20China" title=" modern China"> modern China</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Yangbanxi%20%28model%20works%29" title=" Yangbanxi (model works)"> Yangbanxi (model works)</a> </p> <a href="https://publications.waset.org/abstracts/88365/music-politics-and-modernisation-in-china-an-analysis-of-red-detachment-of-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88365.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">132</span> An Alternative Concept of Green Screen Keying</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jin%20Zhi">Jin Zhi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study focuses on a green screen keying method developed especially for film visual effects. There are a series of ways of using existing tools for creating mattes from green or blue screen plates. However, it is still a time-consuming process, and the results vary especially when it comes to retaining tiny details, such as hair and fur. This paper introduces an alternative concept and method for retaining edge details of characters on a green screen plate, also, a number of connected mathematical equations are explored. At the end of this study, a simplified process of applying this method in real productions is also introduced. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=green%20screen" title="green screen">green screen</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20effects" title=" visual effects"> visual effects</a>, <a href="https://publications.waset.org/abstracts/search?q=compositing" title=" compositing"> compositing</a>, <a href="https://publications.waset.org/abstracts/search?q=matte" title=" matte"> matte</a> </p> <a href="https://publications.waset.org/abstracts/5566/an-alternative-concept-of-green-screen-keying" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/5566.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">404</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">131</span> Contribution to the Study of the Fungal Flora Seed-Borne in Cereal: Wheat and Barley</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M%E2%80%99lik%20Randa">M’lik Randa</a>, <a href="https://publications.waset.org/abstracts/search?q=Lakhdari%20Wassima"> Lakhdari Wassima</a>, <a href="https://publications.waset.org/abstracts/search?q=Dahliz%20Abderrahm%C3%A8ne"> Dahliz Abderrahmène</a>, <a href="https://publications.waset.org/abstracts/search?q=Soud%20Adila"> Soud Adila</a>, <a href="https://publications.waset.org/abstracts/search?q=Hammi%20Hamida"> Hammi Hamida</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In cereal culture, as in the most the vegetal productions the seeds play an important role in the development of the future plant. The healthy seeds are very important for the quality and quantity production. This study on a media (P.D.A) shows that an important mycoflora exists in the crops. Among the identified fungical, we notice the presence of Helminthosporium sp, Alternaria sp, Botrytis and Macrosporium. The use of the illness causing facies, especially for Helminthosporium, Alternaria and Botrytis emphasizes the relation between the seminicole inoculums and the appearance of symptoms on young plants noted by authors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=seeds" title="seeds">seeds</a>, <a href="https://publications.waset.org/abstracts/search?q=barley" title=" barley"> barley</a>, <a href="https://publications.waset.org/abstracts/search?q=wheat" title=" wheat"> wheat</a>, <a href="https://publications.waset.org/abstracts/search?q=fungical%20flora" title=" fungical flora"> fungical flora</a> </p> <a href="https://publications.waset.org/abstracts/14121/contribution-to-the-study-of-the-fungal-flora-seed-borne-in-cereal-wheat-and-barley" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14121.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">416</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">130</span> The Representation of Young Sports Heroines in Cinema: Analysis of a Regressive Portrayal of Young Sportswomen on the Screen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=David%20Sudre">David Sudre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sport in cinema, like sport in society, has been mainly concerned with men and masculinity. Whether in the boxing ring, on the basketball playgrounds, or on the soccer fields, these films have mostly focused on the trials and tribulations of male athletes, for whom women have very generally played secondary, often devalued and devaluing roles, such as that of the loving and indispensable woman to the victorious athlete, that of the dangerous femme fatale, or that of the woman as a sexual object. For more than a century, this film genre has, on the contrary, symbolized the dominant values of patriotism, heroism and contributed at the same time to build an ideal of hegemonic masculinity. With the exception of films such as The Grand National (1944) and Million Dollar Baby (2004), the most commercially successful films tell the story of men's adventures in sports. Today, thanks in part to the struggles of the feminist movement and subsequent societal advances, we are seeing an increase in the number of women in increasingly prominent roles in sports films. Indeed, there seems to be a general shift in popular cinema toward women playing major characters in big-budget productions that have also achieved critical and commercial success. However, if, at first sight, the increase in the number of roles given to women suggests an evolution and a more positive image of them on the screen, it will be necessary to see how their representation is really characterized when they are young and occupy major roles in this type of film. In order to answer this question, we will rely on the results of research conducted on a corpus of 28 sports films in which a young woman plays the main role in the story. All of these productions are fictional (not documentary), mostly American, and distributed by major film studios. The chosen sports teen movies are among the biggest commercial successes of the genre and aim to make the maximum profit and occupy the most dominant positions within the "commercial pole" of the cinematic field. Therefore, this research will allow us, although a change has taken place in the last decades in the number of main roles granted to sportswomen, to decode the sociological subtext of these popular sports films for teenagers. The aim is to reveal how these sports films convey a conservative ideology that participates, on the one hand, in the maintenance of patriarchy and, on the other hand, in the dissemination of stereotyped, negative, and regressive images of young women athletes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=sport" title=" sport"> sport</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=youth" title=" youth"> youth</a>, <a href="https://publications.waset.org/abstracts/search?q=representations" title=" representations"> representations</a>, <a href="https://publications.waset.org/abstracts/search?q=inequality" title=" inequality"> inequality</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotypes" title=" stereotypes"> stereotypes</a> </p> <a href="https://publications.waset.org/abstracts/141448/the-representation-of-young-sports-heroines-in-cinema-analysis-of-a-regressive-portrayal-of-young-sportswomen-on-the-screen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141448.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">69</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">129</span> Programming with Grammars</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peter%20M.%20Maurer%20Maurer">Peter M. Maurer Maurer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> DGL is a context free grammar-based tool for generating random data. Many types of simulator input data require some computation to be placed in the proper format. For example, it might be necessary to generate ordered triples in which the third element is the sum of the first two elements, or it might be necessary to generate random numbers in some sorted order. Although DGL is universal in computational power, generating these types of data is extremely difficult. To overcome this problem, we have enhanced DGL to include features that permit direct computation within the structure of a context free grammar. The features have been implemented as special types of productions, preserving the context free flavor of DGL specifications. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=DGL" title="DGL">DGL</a>, <a href="https://publications.waset.org/abstracts/search?q=Enhanced%20Context%20Free%20Grammars" title=" Enhanced Context Free Grammars"> Enhanced Context Free Grammars</a>, <a href="https://publications.waset.org/abstracts/search?q=Programming%20Constructs" title=" Programming Constructs"> Programming Constructs</a>, <a href="https://publications.waset.org/abstracts/search?q=Random%20Data%20Generation" title=" Random Data Generation"> Random Data Generation</a> </p> <a href="https://publications.waset.org/abstracts/129615/programming-with-grammars" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129615.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">147</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">128</span> Designing Form, Meanings, and Relationships for Future Industrial Products. Case Study Observation of PAD</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisabetta%20Cianfanelli">Elisabetta Cianfanelli</a>, <a href="https://publications.waset.org/abstracts/search?q=Margherita%20Tufarelli"> Margherita Tufarelli</a>, <a href="https://publications.waset.org/abstracts/search?q=Paolo%20Pupparo"> Paolo Pupparo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dialectical mediation between desires and objects or between mass production and consumption continues to evolve over time. This relationship is influenced both by variable geometries of contexts that are distant from the mere design of product form and by aspects rooted in the very definition of industrial design. In particular, the overcoming of macro-areas of innovation in the technological, social, cultural, formal, and morphological spheres, supported by recent theories in critical and speculative design, seems to be moving further and further away from the design of the formal dimension of advanced products. The articulated fabric of theories and practices that feed the definition of “hyperobjects”, and no longer objects describes a common tension in all areas of design and production of industrial products. The latter are increasingly detached from the design of the form and meaning of the same in mass productions, thus losing the quality of products capable of social transformation. For years we have been living in a transformative moment as regards the design process in the definition of the industrial product. We are faced with a dichotomy in which there is, on the one hand, a reactionary aversion to the new techniques of industrial production and, on the other hand, a sterile adoption of the techniques of mass production that we can now consider traditional. This ambiguity becomes even more evident when we talk about industrial products, and we realize that we are moving further and further away from the concepts of "form" as a synthesis of a design thought aimed at the aesthetic-emotional component as well as the functional one. The design of forms and their contents, as statutes of social acts, allows us to investigate the tension on mass production that crosses seasons, trends, technicalities, and sterile determinisms. The design culture has always determined the formal qualities of objects as a sum of aesthetic characteristics functional and structural relationships that define a product as a coherent unit. The contribution proposes a reflection and a series of practical experiences of research on the form of advanced products. This form is understood as a kaleidoscope of relationships through the search for an identity, the desire for democratization, and between these two, the exploration of the aesthetic factor. The study of form also corresponds to the study of production processes, technological innovations, the definition of standards, distribution, advertising, the vicissitudes of taste and lifestyles. Specifically, we will investigate how the genesis of new forms for new meanings introduces a change in the relative innovative production techniques. It becomes, therefore, fundamental to investigate, through the reflections and the case studies exposed inside the contribution, also the new techniques of production and elaboration of the forms of the products, as new immanent and determining element inside the planning process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=industrial%20design" title="industrial design">industrial design</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20advanced%20design" title=" product advanced design"> product advanced design</a>, <a href="https://publications.waset.org/abstracts/search?q=mass%20productions" title=" mass productions"> mass productions</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20meanings" title=" new meanings"> new meanings</a> </p> <a href="https://publications.waset.org/abstracts/146132/designing-form-meanings-and-relationships-for-future-industrial-products-case-study-observation-of-pad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146132.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">127</span> Effects of Exposing Learners to Speech Acts in the German Teaching Material Schritte International: The Case of Requests </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wan-Lin%20Tsai">Wan-Lin Tsai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Speech act of requests is an important issue in the field of language learning and teaching because we cannot avoid making requesting in our daily life. This study examined whether or not the subjects who were freshmen and majored in German at Wenzao University of Languages were able to use the linguistic forms which they had learned from their course book Schritte International to make appropriate requests through dialogue completed tasks (DCT). The results revealed that the majority of the subjects were unable to use the forms to make appropriate requests in German due to the lack of explicit instructions. Furthermore, Chinese interference was observed in students' productions. Explicit instructions in speech acts are strongly recommended. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20interference" title="Chinese interference">Chinese interference</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20pragmatics" title=" German pragmatics"> German pragmatics</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20teaching" title=" German teaching"> German teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=make%20appropriate%20requests%20in%20German" title=" make appropriate requests in German"> make appropriate requests in German</a>, <a href="https://publications.waset.org/abstracts/search?q=speech%20act%20of%20requesting" title=" speech act of requesting"> speech act of requesting</a> </p> <a href="https://publications.waset.org/abstracts/36772/effects-of-exposing-learners-to-speech-acts-in-the-german-teaching-material-schritte-international-the-case-of-requests" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36772.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">465</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">126</span> Movie and Theater Marketing Using the Potentials of Social Networks</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyed%20Reza%20Naghibulsadat">Seyed Reza Naghibulsadat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The nature of communication includes various forms of media productions, which include film and theater. In the current situation, since social networks have emerged, they have brought their own communication capabilities and have features that show speed, public access, lack of media organization and the production of extensive content, and the development of critical thinking; Also, they contain capabilities to develop access to all kinds of media productions, including movies and theater shows; Of course, this works differently in different conditions and communities. In terms of the scale of exploitation, the film has a more general audience, and the theater has a special audience. The film industry is more developed based on more modern technologies, but the theater, based on the older ways of communication, contains more intimate and emotional aspects. ; But in general, the main focus is the development of access to movies and theater shows, which is emphasized by those involved in this field due to the capabilities of social networks. In this research, we will look at these 2 areas and the relevant components for both areas through social networks and also the common points of both types of media production. The main goal of this research is to know the strengths and weaknesses of using social networks for the marketing of movies and theater shows and, at the same time are, also considered the opportunities and threats of this field. The attractions of these two types of media production, with the emergence of social networks, and the ability to change positions, can provide the opportunity to become a media with greater exploitation and higher profitability; But the main consideration is the opinions about these capabilities and the ability to use them for film and theater marketing. The main question of the research is, what are the marketing components for movies and theaters using social media capabilities? What are its strengths and weaknesses? And what opportunities and threats are facing this market? This research has been done with two methods SWOT and meta-analysis. Non-probability sampling has been used with purposeful technique. The results show that a recent approach is an approach based on eliminating threats and weaknesses and emphasizing strengths, and exploiting opportunities in the direction of developing film and theater marketing based on the capabilities of social networks within the framework of local cultural values and presenting achievements on an international scale or It is universal. This introduction leads to the introduction of authentic Iranian culture and foreign enthusiasts in the framework of movies and theater art. Therefore, for this issue, the model for using the capabilities of social networks for movie or theater marketing, according to the results obtained from Respondents, is a model based on SO strategies and, in other words, offensive strategies so that it can take advantage of the internal strengths and made maximum use of foreign situations and opportunities to develop the use of movies and theater performances. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=marketing" title="marketing">marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=theatrical%20show" title=" theatrical show"> theatrical show</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20network%20potentials" title=" social network potentials"> social network potentials</a> </p> <a href="https://publications.waset.org/abstracts/161909/movie-and-theater-marketing-using-the-potentials-of-social-networks" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161909.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">125</span> Ads on Social Issues: A Tool for Improving Critical Thinking Skills in a Foreign Language Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fonseca%20Jully">Fonseca Jully</a>, <a href="https://publications.waset.org/abstracts/search?q=Chia%20Maribel"> Chia Maribel</a>, <a href="https://publications.waset.org/abstracts/search?q=Rodr%C3%ADguez%20Ilba"> Rodríguez Ilba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is a qualitative research report. A group of students form a public university in a small town in Colombia participated in this study which aimed at describing to what extend the use of social ads, published on the internet, helped to develop their critical thinking skills. Students’ productions, field notes, video recordings and direct observation were the instruments and techniques used by the researches in order to gather the data which was analyzed under the principles of grounded theory and triangulation. The implementation of social ads into the classroom evidenced a noticeable improvement in students’ ability to interpret and argue social issues, as well as, their self-improvement in oral and written production in English, as a foreign language. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ads" title="Ads">Ads</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20argumentation" title=" critical argumentation"> critical argumentation</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20thinking" title=" critical thinking"> critical thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20issues" title=" social issues"> social issues</a> </p> <a href="https://publications.waset.org/abstracts/38690/ads-on-social-issues-a-tool-for-improving-critical-thinking-skills-in-a-foreign-language-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/38690.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">339</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">124</span> Organizational Ideologies and Their Embeddedness in Fashion Show Productions in Shanghai and London Fashion Week: International-Based-Chinese Independent Designers' Participatory Behaviors in Different Fashion Cities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhe%20Wang">Zhe Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The fashion week, as a critical international fashion event in shaping world fashion cities, is one of the most significant world events that serves as the core medium for designers to stage new collections. However, its role in bringing about and shaping design ideologies of major fashion cities have long been neglected from a fashion ecosystem perspective. With the expanding scale of international fashion weeks in terms of culture and commerce, the organizational structures of these fashion weeks are becoming more complex. In the emerging fashion city, typified by Shanghai, a newly-formed 'hodgepodge' transforming the current global fashion ecosystem. A city’s legitimate fashion institutions, typically the organizers of international fashion weeks, have cultivated various cultural characteristics via rules and regulations pertaining to international fashion weeks. Under these circumstances, designers’ participatory behaviors, specifically show design and production, are influenced by the cultural ideologies of official organizers and institutions. This research compares international based Chinese (IBC) independent designers’ participatory behavior in London and Shanghai Fashion Weeks: specifically, the way designers present their clothing and show production. both of which are found to be profoundly influenced by cultural and design ideologies of fashion weeks. They are, to a large degree, manipulated by domestic institutions and organizers. Shanghai fashion week has given rise to a multiple, mass-ended entertainment carnival design and cultural ideology in Shanghai, thereby impacting the explicit cultural codes or intangible rules that IBC designers must adhere to when designing and producing fashion shows. Therefore, influenced by various cultural characteristics in the two cities, IBC designers’ show design and productions, in turn, play an increasingly vital role in shaping the design characteristic of an international fashion week. Through researching the organizational systems and design preferences of organizers of London and Shanghai fashion weeks, this paper demonstrates the embeddedness of design systems in the forming of design ideologies under various cultural and institutional contexts. The core methodology utilized in this research is ethnography. As a crucial part of a Ph.D. project on innovations in fashion shows under a cross-cultural context run by Edinburgh College of Art, School of Design, the fashion week’s organizational culture in various cultural contexts is investigated in London and Shanghai for approximately six months respectively. Two IBC designers, Angel Chen and Xuzhi Chen were followed during their participation of London and Shanghai Fashion Weeks from September 2016 to June 2017, during which two consecutive seasons were researched in order to verify the consistency of design ideologies’ associations with organizational system and culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=institutional%20ideologies" title="institutional ideologies">institutional ideologies</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20fashion%20weeks" title=" international fashion weeks"> international fashion weeks</a>, <a href="https://publications.waset.org/abstracts/search?q=IBC%20independent%20designers%3B%20fashion%20show" title=" IBC independent designers; fashion show"> IBC independent designers; fashion show</a> </p> <a href="https://publications.waset.org/abstracts/100706/organizational-ideologies-and-their-embeddedness-in-fashion-show-productions-in-shanghai-and-london-fashion-week-international-based-chinese-independent-designers-participatory-behaviors-in-different-fashion-cities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100706.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">123</span> Location3: A Location Scouting Platform for the Support of Film and Multimedia Industries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Tzilopoulos">Dimitrios Tzilopoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Panagiotis%20Symeonidis"> Panagiotis Symeonidis</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20Loufakis"> Michael Loufakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimosthenis%20Ioannidis"> Dimosthenis Ioannidis</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Tzovaras"> Dimitrios Tzovaras</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The domestic film industry in Greece has traditionally relied heavily on state support. While film productions are crucial for the country's economy, it has not fully capitalized on attracting and promoting foreign productions. The lack of motivation, organized state support for attraction and licensing, and the absence of location scouting have hindered its potential. Although recent legislative changes have addressed the first two of these issues, the development of a comprehensive location database and a search engine that would effectively support location scouting at the pre-production location scouting is still in its early stages. In addition to the expected benefits of the film, television, marketing, and multimedia industries, a location-scouting service platform has the potential to yield significant financial gains locally and nationally. By promoting featured places like cultural and archaeological sites, natural monuments, and attraction points for visitors, it plays a vital role in both cultural promotion and facilitating tourism development. This study introduces LOCATION3, an internet platform revolutionizing film production location management. It interconnects location providers, film crews, and multimedia stakeholders, offering a comprehensive environment for seamless collaboration. The platform's central geodatabase (PostgreSQL) stores each location’s attributes, while web technologies like HTML, JavaScript, CSS, React.js, and Redux power the user-friendly interface. Advanced functionalities, utilizing deep learning models, developed in Python, are integrated via Node.js. Visual data presentation is achieved using the JS Leaflet library, delivering an interactive map experience. LOCATION3 sets a new standard, offering a range of essential features to enhance the management of film production locations. Firstly, it empowers users to effortlessly upload audiovisual material enriched with geospatial and temporal data, such as location coordinates, photographs, videos, 360-degree panoramas, and 3D location models. With the help of cutting-edge deep learning algorithms, the application automatically tags these materials, while users can also manually tag them. Moreover, the application allows users to record locations directly through its user-friendly mobile application. Users can then embark on seamless location searches, employing spatial or descriptive criteria. This intelligent search functionality considers a combination of relevant tags, dominant colors, architectural characteristics, emotional associations, and unique location traits. One of the application's standout features is the ability to explore locations by their visual similarity to other materials, facilitated by a reverse image search. Also, the interactive map serves as both a dynamic display for locations and a versatile filter, adapting to the user's preferences and effortlessly enhancing location searches. To further streamline the process, the application facilitates the creation of location lightboxes, enabling users to efficiently organize and share their content via email. Going above and beyond location management, the platform also provides invaluable liaison, matchmaking, and online marketplace services. This powerful functionality bridges the gap between visual and three-dimensional geospatial material providers, local agencies, film companies, production companies, etc. so that those interested in a specific location can access additional material beyond what is stored on the platform, as well as access production services supporting the functioning and completion of productions in a location (equipment provision, transportation, catering, accommodation, etc.). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deep%20learning%20models" title="deep learning models">deep learning models</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title=" film industry"> film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=geospatial%20data%20management" title=" geospatial data management"> geospatial data management</a>, <a href="https://publications.waset.org/abstracts/search?q=location%20scouting" title=" location scouting"> location scouting</a> </p> <a href="https://publications.waset.org/abstracts/169034/location3-a-location-scouting-platform-for-the-support-of-film-and-multimedia-industries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169034.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">122</span> The Part of Dido in Purcell’s Opera ‘Dido and Aeneas’: Problems of Performing Baroque Opera</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feng%20Ke">Feng Ke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Henry Purcell's opera ‘Dido and Aeneas’ is still highly appreciated by music critics and occupies an important place in the repertoire of theaters around the world. Presented for the first time in 1689 by pupils of a boarding school in Chelsea, it turned out to be the only one of its kind not only in English but also in world opera music. Up-to-date data on the first productions of the opera are available in the Paxton article. The composer, for whom English masks served as examples of his first works in this genre, departed in ‘Dido’ from the so-called seven-opera with spoken dialogues and created a work that corresponded to his understanding of opera as ‘singing accompanied by an appropriate action’, ‘Dido and Aeneas’ differs from the Italian operas of that time in its chamber, stylistic rigor, it is full, on the one hand, of elegiac languor and subtle feelings, on the other – of genre ensemble and choral scenes saturated with lively energy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henry%20Purcell" title="Henry Purcell">Henry Purcell</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque%20opera" title=" baroque opera"> baroque opera</a>, <a href="https://publications.waset.org/abstracts/search?q=vocal%20part%20of%20the%20area" title=" vocal part of the area"> vocal part of the area</a>, <a href="https://publications.waset.org/abstracts/search?q=genuine%20virtuosity%20from%20the%20performer" title=" genuine virtuosity from the performer"> genuine virtuosity from the performer</a> </p> <a href="https://publications.waset.org/abstracts/184879/the-part-of-dido-in-purcells-opera-dido-and-aeneas-problems-of-performing-baroque-opera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184879.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">54</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">121</span> Batman Forever: The Economics of Overlapping Rights</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Franziska%20Kaiser">Franziska Kaiser</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Cuntz"> Alexander Cuntz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> When copyrighted comic characters are also protected under trademark laws, intellectual property (IP) rights can overlap. Arguably, registering a trademark can increase transaction costs for cross-media uses of characters, or it can favor advertise across a number of sales channels. In an application to book, movie, and video game publishing industries, we thus ask how creative reuse is affected in situations of overlapping rights and whether ‘fuzzy boundaries’ of right frameworks are, in fact, enhancing or decreasing content sales. We use a major U.S. Supreme Court decision as a quasi-natural experiment to apply an IV estimation in our analysis. We find that overlapping rights frameworks negatively affect creative reuses. At large, when copyright-protected comic characters are additionally registered as U.S. trademarks, they are less often reprinted and enter fewer video game productions while generating less revenue from game sales. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=copyright" title="copyright">copyright</a>, <a href="https://publications.waset.org/abstracts/search?q=fictional%20characters" title=" fictional characters"> fictional characters</a>, <a href="https://publications.waset.org/abstracts/search?q=trademark" title=" trademark"> trademark</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a> </p> <a href="https://publications.waset.org/abstracts/135146/batman-forever-the-economics-of-overlapping-rights" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135146.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">209</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=productions&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=productions&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=productions&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=productions&page=5">5</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=productions&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div 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