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<!DOCTYPE html> <html lang="en" dir="ltr"> <head>  <script async src="https://www.googletagmanager.com/gtag/js?id=G-P63WKM1TM1"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-P63WKM1TM1'); </script>  <script type="text/javascript" > (function(m,e,t,r,i,k,a){m[i]=m[i]||function(){(m[i].a=m[i].a||[]).push(arguments)}; m[i].l=1*new Date(); for (var j = 0; j < document.scripts.length; j++) {if (document.scripts[j].src === r) { return; }} k=e.createElement(t),a=e.getElementsByTagName(t)[0],k.async=1,k.src=r,a.parentNode.insertBefore(k,a)}) (window, document, "script", "https://mc.yandex.ru/metrika/tag.js", "ym"); ym(55165297, "init", { clickmap:false, trackLinks:true, accurateTrackBounce:true, webvisor:false }); </script> <noscript><div><img src="https://mc.yandex.ru/watch/55165297" style="position:absolute; left:-9999px;" alt="" /></div></noscript>    <title>Search results for: Tamasha genre</title> <meta name="description" content="Search results for: Tamasha genre"> <meta name="keywords" content="Tamasha genre"> <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 ml-auto" type="button" data-toggle="collapse" data-target="#navbarMenu" aria-controls="navbarMenu" aria-expanded="false" aria-label="Toggle navigation"> <span class="navbar-toggler-icon"></span> </button> <div class="w-100"> <div class="d-none d-lg-flex flex-row-reverse"> <form method="get" action="https://waset.org/search" class="form-inline my-2 my-lg-0"> <input class="form-control mr-sm-2" type="search" placeholder="Search Conferences" value="Tamasha genre" name="q" aria-label="Search"> <button class="btn btn-light my-2 my-sm-0" type="submit"><i class="fas fa-search"></i></button> </form> </div> <div class="collapse navbar-collapse mt-1" id="navbarMenu"> <ul class="navbar-nav ml-auto align-items-center" id="mainNavMenu"> <li class="nav-item"> <a class="nav-link" href="https://waset.org/conferences" title="Conferences in 2024/2025/2026">Conferences</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/disciplines" title="Disciplines">Disciplines</a> </li> <li 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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="Tamasha genre"> <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> 188</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Tamasha genre</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">188</span> Reviving Customs: Examining the Vernacular Habitus in Modern Marathi Film via the Tamasha Genre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amar%20Ramesh%20Wayal">Amar Ramesh Wayal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Marathi cinema, an integral part of India’s diverse film industry, has significantly evolved in its storytelling and aesthetics, with the Tamasha genre being central to this evolution. Tamasha, a traditional form of Marathi theatre, features vibrant dance and music, especially the rhythmic and often suggestive musical genre, lavani. It gained cinematic prominence in the 1960s with Anant Mane’s Sangtye Aika (1959), which brought and popularized Tamasha to the silver screen, and V. Shantaram’s Pinjra (1972), an iconic Tamasha drama. Despite early success, Tamasha films declined in popularity until Natarang (2010) revitalized interest in this traditional form. This study examines the relevance and evolution of the Tamasha genre in Marathi cinema through contemporary films like Ek Hota Vidushak by Jabbar Patel (1992), Natarang (2010) by Ravi Jadhav, and Tamasha Live (2022) by Sanjay Jadhav. The selection of the films is based on their significant roles in the evolution of the Tamasha in Marathi cinema. Ek Hota Vidushak explores socio-political themes through Tamasha, Natarang depicts the struggles and emotional depth of Tamasha performers, and Tamasha Live integrates traditional Tamasha into modern cinema. By analysing films from different periods, this study highlights the genre’s reinterpretation and adaptation over time. The study employs a qualitative approach, utilizing textual analysis and cultural critique to examine the portrayal and evolution of Tamasha in selected films. It aims to illuminate the complex relationship between tradition and modernity in Marathi cinema through Foucauldian discourse analysis and Pierre Bourdieu’s concept of “vernacular habitus,” which refers to local, indigenous cultural spaces that shape people’s perceptions and expressions. By analyzing these films, the study seeks to understand how traditional cultural forms are integrated into contemporary cinematic narratives. However, this method has limitations, such as subjectivity in interpretation and the need for extensive contextual knowledge. Qualitative research can be subject to researcher bias, affecting analysis and conclusions. To mitigate this, this study maintains rigorous reflexivity and transparency regarding the researcher’s positionality. Furthermore, findings from specific film analyses may not be universally applicable to all Tamasha films or broader Marathi cinema. To enhance the study’s robustness, future research could incorporate comparative or quantitative data to complement qualitative insights. Despite these challenges, qualitative research is crucial for exploring cultural artifacts and their significance within specific contexts. By triangulating qualitative findings with diverse perspectives and acknowledging limitations, this study aims to provide a nuanced understanding of how Tamasha cinema preserves and revitalizes Maharashtra’s folk traditions while adapting them to contemporary contexts. Analyzing films by Jabbar Patel, Ravi Jadhav, and Sanjay Jadhav shows how these filmmakers balance traditional aesthetics with modern storytelling, bridging historical continuity with contemporary relevance. This study offers insights into how indigenous traditions like Tamasha continue to shape and define cinematic narratives in Maharashtra. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marathi%20cinema" title="Marathi cinema">Marathi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Tamasha%20genre" title=" Tamasha genre"> Tamasha genre</a>, <a href="https://publications.waset.org/abstracts/search?q=vernacular%20habitus" title=" vernacular habitus"> vernacular habitus</a>, <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title=" discourse analysis"> discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20evolution" title=" cultural evolution"> cultural evolution</a> </p> <a href="https://publications.waset.org/abstracts/187576/reviving-customs-examining-the-vernacular-habitus-in-modern-marathi-film-via-the-tamasha-genre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187576.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">32</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">187</span> The Evolution of the Piano Preludes by Focusing on Bach, Chopin and Debussy’s Work</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This document follows the development of the prelude genre by analyzing specific pieces from a representative selection of composer from Bach to Shostakovich in every era. The research aims to prove the existence of an evolutionary axis in the genre of prelude's history, which is believed to be fading. In this research, Bach, Chopin, and Debussy's works are demonstrated and explored by creating a definition of the genre on his own terms and having an impact on future composers in the following generations. Taking into account, the educational aspect of the prelude and its connection to the genre of study, a brief conversation about it is also provided with an assessment of shorter versions of the genre, for instance, Chopin's preludes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a>, <a href="https://publications.waset.org/abstracts/search?q=Bach" title=" Bach"> Bach</a>, <a href="https://publications.waset.org/abstracts/search?q=Chopin" title=" Chopin"> Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a> </p> <a href="https://publications.waset.org/abstracts/186517/the-evolution-of-the-piano-preludes-by-focusing-on-bach-chopin-and-debussys-work" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186517.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">47</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">186</span> Spatial Audio Player Using Musical Genre Classification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun-Yong%20Lee">Jun-Yong Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyoung-Gook%20Kim"> Hyoung-Gook Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automatic%20equalization" title="automatic equalization">automatic equalization</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20classification" title=" genre classification"> genre classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20segment%20detection" title=" music segment detection"> music segment detection</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20audio%20processing" title=" spatial audio processing"> spatial audio processing</a> </p> <a href="https://publications.waset.org/abstracts/7561/spatial-audio-player-using-musical-genre-classification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7561.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">429</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">185</span> The Genre Narrative in Beethoven's E-Flat Piano Sonata, Op.31/3</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yan%20Zou">Yan Zou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Approach to the theory of Musical Narrative, as well as the three criteria of the 'explicit narrative', 'potential narrative' and 'image narrative' which are used to analyze the music, the author put Beethoven’s Piano Sonata in E-flat major, Op.31/3, into the context of the music genre and Western music history, and interpreted the programmatic contents that were embodied and hid in the special music genres. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analysis" title="analysis">analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=rhetoric" title=" rhetoric"> rhetoric</a> </p> <a href="https://publications.waset.org/abstracts/41842/the-genre-narrative-in-beethovens-e-flat-piano-sonata-op313" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41842.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">369</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">184</span> Genre Analysis of Postgraduate Theses and Dissertations: Case of Statement of the Problem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20Mashhady">H. Mashhady</a>, <a href="https://publications.waset.org/abstracts/search?q=H.%20A.%20Manzoori"> H. A. Manzoori</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Doosti"> M. Doosti</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Fatollahi"> M. Fatollahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study reports a descriptive research in the form of a genre analysis of postgraduates' theses and dissertations at three Iranian universities, including Ferdowsi, Tehran, and Tarbiat Moddares universities. The researchers sought to depict the generic structure of “statement of the problem” section of PhD dissertations and MA theses. Moreover, researchers desired to find any probable variety based on the year the dissertations belonged, to see weather genre-consciousness developed among Iranian postgraduates. To obtain data, “statement of the problem” section of 90 Ph.D. dissertations and MA theses from 2001 to 2013 in Teaching English as a Foreign Language (TEFL) at above-mentioned universities was selected. Frequency counts was employed for the quantitative method of data analysis, while genre analysis was used as the qualitative method. Inter-rater reliability was found to be about 0.93. Results revealed that students in different degrees at each of these universities used various generic structures for writing “statement of the problem”. Moreover, comparison of different time periods (2001-2006, and 2007-2013) revealed that postgraduates in the second time period, regardless of their degree and university, employed more similar generic structures which can be optimistically attributed to a general raise in genre awareness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=genre" title="genre">genre</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20analysis" title=" genre analysis"> genre analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Ph.D.%20and%20MA%20dissertations" title=" Ph.D. and MA dissertations"> Ph.D. and MA dissertations</a>, <a href="https://publications.waset.org/abstracts/search?q=statement%20of%20the%20problem" title=" statement of the problem"> statement of the problem</a>, <a href="https://publications.waset.org/abstracts/search?q=generic%20structure" title=" generic structure"> generic structure</a> </p> <a href="https://publications.waset.org/abstracts/18508/genre-analysis-of-postgraduate-theses-and-dissertations-case-of-statement-of-the-problem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/18508.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">669</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">183</span> A Critical Genre Analysis of Negative Parts in CSR Reports</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shuai%20Liu">Shuai Liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In corporate social responsibility (CSR) reporting, companies are expected to present both the positive and negative parts of the social and environmental impacts of their performance. This study investigates how the companies that listed in fortune 500 respond to this challenge by analyzing the representations of negative part especially the safety performance. It has found that in the level of genre analysis, it presented 3 major moves and 11 steps in terms of the interdiscursivity analysis. It was made up of three dominant discourse.. The study calls for greater focus on the internal and external analysis of the negative aspect of aspects of companies’ self-disclosure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CSR%20reports" title="CSR reports">CSR reports</a>, <a href="https://publications.waset.org/abstracts/search?q=negative%20parts" title=" negative parts"> negative parts</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20genre%20analysis" title=" critical genre analysis"> critical genre analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=interdiscursivity" title=" interdiscursivity"> interdiscursivity</a> </p> <a href="https://publications.waset.org/abstracts/143076/a-critical-genre-analysis-of-negative-parts-in-csr-reports" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143076.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">428</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">182</span> A Documentary Review of Theoretical and Practical Elements for a Genre Analysis of Thailand Travel Listicles</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pinyada%20Santisarun">Pinyada Santisarun</a>, <a href="https://publications.waset.org/abstracts/search?q=Yaowaret%20Tharawoot"> Yaowaret Tharawoot</a>, <a href="https://publications.waset.org/abstracts/search?q=Songyut%20Akkakoson"> Songyut Akkakoson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper reports on a literature review sub-study of a larger research project which has been designed to identify the rhetorical organization of a travel writing genre, together with the use of lexical choices, syntactical structures, and graphological features, based on a randomly-selected corpus of Thailand travel listicles. Conducted as a library-based overview, this study aims to specify theoretical and practical elements for the said larger study. The materials for the review have been retrieved from various Internet sources, covering both public search engines and library databases. Generally, the article focuses on answering questions about the ‘what’ and the ‘how’ of such background elements widely discussed in the literature as the meaning of listicles, how the travel listicles’ patterns and regularities can be categorized to form a new genre, the effect of computer-mediated communication on the travel world, the travel language, and the current situation concerning the importance of travel listicles. The theoretical and practical data derived from this study provide valuable insights into the way in which the genre analysis and lexico-syntactical examination of Thailand travel listicles in the present authors’ larger research project can be properly conducted. The data gained can be added to the expanding body of knowledge in the field of the ESP genre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=computer-mediated%20communication" title="computer-mediated communication">computer-mediated communication</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20writing" title=" digital writing"> digital writing</a>, <a href="https://publications.waset.org/abstracts/search?q=genre-based%20analysis" title=" genre-based analysis"> genre-based analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20travel%20writing" title=" online travel writing"> online travel writing</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism%20language" title=" tourism language"> tourism language</a> </p> <a href="https://publications.waset.org/abstracts/135008/a-documentary-review-of-theoretical-and-practical-elements-for-a-genre-analysis-of-thailand-travel-listicles" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135008.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">145</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">181</span> Techno-Apocalypse in Christian End-Time Literature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sean%20O%27Callaghan">Sean O'Callaghan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Around 2011/2012, a whole new genre of Christian religious writing began to emerge, focused on the role of advanced technologies, particularly the GRIN technologies (Genetics, Robotics, Information Technology and Nanotechnology), in bringing about a techno-apocalypse, leading to catastrophic events which would usher in the end of the world. This genre, at first niche, has now begun to grow in significance in many quarters of the more fundamentalist and biblically literalist branches of evangelicalism. It approaches science and technology with more than extreme skepticism. It accuses transhumanists of being in league with satanic powers and a satanic agenda and contextualizes transhumanist scientific progress in terms of its service to what it believes to be a soon to come Antichrist figure. The genre has moved beyond literature and videos about its message can be found on YouTube and other forums, where many of the presentations there get well over a quarter of a million views. This paper will examine the genre and its genesis, referring to the key figures involved in spreading the anti-intellectualist and anti-scientific message. It will demonstrate how this genre of writing is similar in many respects to other forms of apocalyptic writing which have emerged in the twentieth and twenty-first centuries, all in response to both scientific and political events which are interpreted in the light of biblical prophecy. It will also set the genre in the context of a contemporary pre-occupation with conspiracy theory. The conclusions of the research conducted in this field by the author are that it does a grave disservice to both the scientific and Christian audiences which it targets, by misrepresenting scientific advances and by creating a hermeneutic of suspicion which makes it impossible for Christians to place their trust in scientific claims. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antichrist" title="antichrist">antichrist</a>, <a href="https://publications.waset.org/abstracts/search?q=catastrophic" title=" catastrophic"> catastrophic</a>, <a href="https://publications.waset.org/abstracts/search?q=Christian" title=" Christian"> Christian</a>, <a href="https://publications.waset.org/abstracts/search?q=techno-apocalypse" title=" techno-apocalypse"> techno-apocalypse</a> </p> <a href="https://publications.waset.org/abstracts/80806/techno-apocalypse-in-christian-end-time-literature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80806.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">205</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">180</span> A Genre Analysis of University Lectures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lee%20Kok%20Yueh">Lee Kok Yueh</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatin%20Hamadah%20Rahman"> Fatin Hamadah Rahman</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Hassell"> David Hassell</a>, <a href="https://publications.waset.org/abstracts/search?q=Au%20Thien%20Wan"> Au Thien Wan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work reports on a genre based study of lectures at a University in Brunei, Universiti Teknologi Brunei to explore the communicative functions and to gain insight into the discourse. It explores these in three different domains; Social Science, Engineering and Computing. Audio recordings from four lecturers comprising 20 lectures were transcribed and analysed, with the duration of each lecture varying between 20 to 90 minutes. This qualitative study found similar patterns and functions of lectures as those found in existing research amongst which include greetings, housekeeping, or recapping of previous lectures in the lecture introductions. In the lecture content, comprehension check and use of examples or analogies are very prevalent. However, the use of examples largely depend on the lecture content; and the more technical the content, the harder it was for lecturers to provide examples or analogies. Three functional moves are identified in the lecture conclusions; announcement, summary and future plan, all of which are optional. Despite the relatively small sample size, the present study shows that lectures are interactive and there are some consistencies with the delivery of lecture in relation to the communicative functions and genre of lecture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communicative%20functions" title="communicative functions">communicative functions</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20analysis" title=" genre analysis"> genre analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=lectures" title=" lectures"> lectures</a> </p> <a href="https://publications.waset.org/abstracts/84295/a-genre-analysis-of-university-lectures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84295.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">191</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">179</span> Music Genre Classification Based on Non-Negative Matrix Factorization Features</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Soyon%20Kim">Soyon Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Edward%20Kim"> Edward Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In order to retrieve information from the massive stream of songs in the music industry, music search by title, lyrics, artist, mood, and genre has become more important. Despite the subjectivity and controversy over the definition of music genres across different nations and cultures, automatic genre classification systems that facilitate the process of music categorization have been developed. Manual genre selection by music producers is being provided as statistical data for designing automatic genre classification systems. In this paper, an automatic music genre classification system utilizing non-negative matrix factorization (NMF) is proposed. Short-term characteristics of the music signal can be captured based on the timbre features such as mel-frequency cepstral coefficient (MFCC), decorrelated filter bank (DFB), octave-based spectral contrast (OSC), and octave band sum (OBS). Long-term time-varying characteristics of the music signal can be summarized with (1) the statistical features such as mean, variance, minimum, and maximum of the timbre features and (2) the modulation spectrum features such as spectral flatness measure, spectral crest measure, spectral peak, spectral valley, and spectral contrast of the timbre features. Not only these conventional basic long-term feature vectors, but also NMF based feature vectors are proposed to be used together for genre classification. In the training stage, NMF basis vectors were extracted for each genre class. The NMF features were calculated in the log spectral magnitude domain (NMF-LSM) as well as in the basic feature vector domain (NMF-BFV). For NMF-LSM, an entire full band spectrum was used. However, for NMF-BFV, only low band spectrum was used since high frequency modulation spectrum of the basic feature vectors did not contain important information for genre classification. In the test stage, using the set of pre-trained NMF basis vectors, the genre classification system extracted the NMF weighting values of each genre as the NMF feature vectors. A support vector machine (SVM) was used as a classifier. The GTZAN multi-genre music database was used for training and testing. It is composed of 10 genres and 100 songs for each genre. To increase the reliability of the experiments, 10-fold cross validation was used. For a given input song, an extracted NMF-LSM feature vector was composed of 10 weighting values that corresponded to the classification probabilities for 10 genres. An NMF-BFV feature vector also had a dimensionality of 10. Combined with the basic long-term features such as statistical features and modulation spectrum features, the NMF features provided the increased accuracy with a slight increase in feature dimensionality. The conventional basic features by themselves yielded 84.0% accuracy, but the basic features with NMF-LSM and NMF-BFV provided 85.1% and 84.2% accuracy, respectively. The basic features required dimensionality of 460, but NMF-LSM and NMF-BFV required dimensionalities of 10 and 10, respectively. Combining the basic features, NMF-LSM and NMF-BFV together with the SVM with a radial basis function (RBF) kernel produced the significantly higher classification accuracy of 88.3% with a feature dimensionality of 480. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mel-frequency%20cepstral%20coefficient%20%28MFCC%29" title="mel-frequency cepstral coefficient (MFCC)">mel-frequency cepstral coefficient (MFCC)</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20genre%20classification" title=" music genre classification"> music genre classification</a>, <a href="https://publications.waset.org/abstracts/search?q=non-negative%20matrix%20factorization%20%28NMF%29" title=" non-negative matrix factorization (NMF)"> non-negative matrix factorization (NMF)</a>, <a href="https://publications.waset.org/abstracts/search?q=support%20vector%20machine%20%28SVM%29" title=" support vector machine (SVM)"> support vector machine (SVM)</a> </p> <a href="https://publications.waset.org/abstracts/89349/music-genre-classification-based-on-non-negative-matrix-factorization-features" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89349.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">303</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">178</span> A Genre-Based Approach to the Teaching of Pronunciation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marden%20Silva">Marden Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=Danielle%20Guerra"> Danielle Guerra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Some studies have indicated that pronunciation teaching hasn’t been paid enough attention by teachers regarding EFL contexts. In particular, segmental and suprasegmental features through genre-based approach may be an opportunity on how to integrate pronunciation into a more meaningful learning practice. Therefore, the aim of this project was to carry out a survey on some aspects related to English pronunciation that Brazilian students consider more difficult to learn, thus enabling the discussion of strategies that can facilitate the development of oral skills in English classes by integrating the teaching of phonetic-phonological aspects into the genre-based approach. Notions of intelligibility, fluency and accuracy were proposed by some authors as an ideal didactic sequence. According to their proposals, basic learners should be exposed to activities focused on the notion of intelligibility as well as intermediate students to the notion of fluency, and finally more advanced ones to accuracy practices. In order to test this hypothesis, data collection was conducted during three high school English classes at Federal Center for Technological Education of Minas Gerais (CEFET-MG), in Brazil, through questionnaires and didactic activities, which were recorded and transcribed for further analysis. The genre debate was chosen to facilitate the oral expression of the participants in a freer way, making them answering questions and giving their opinion about a previously selected topic. The findings indicated that basic students demonstrated more difficulty with aspects of English pronunciation than the others. Many of the intelligibility aspects analyzed had to be listened more than once for a better understanding. For intermediate students, the speeches recorded were considerably easier to understand, but nevertheless they found it more difficult to pronounce the words fluently, often interrupting their speech to think about what they were going to say and how they would talk. Lastly, more advanced learners seemed to express their ideas more fluently, but still subtle errors related to accuracy were perceptible in speech, thereby confirming the proposed hypothesis. It was also seen that using genre-based approach to promote oral communication in English classes might be a relevant method, considering the socio-communicative function inherent in the suggested approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=EFL" title="EFL">EFL</a>, <a href="https://publications.waset.org/abstracts/search?q=genre-based%20approach" title=" genre-based approach"> genre-based approach</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20skills" title=" oral skills"> oral skills</a>, <a href="https://publications.waset.org/abstracts/search?q=pronunciation" title=" pronunciation"> pronunciation</a> </p> <a href="https://publications.waset.org/abstracts/93605/a-genre-based-approach-to-the-teaching-of-pronunciation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93605.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">130</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">177</span> Post-modernist Tragi-Comedy: A Study of Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azza%20Taha%20Zaki">Azza Taha Zaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The death of tragedy is probably the most distinctive literary controversy of the twentieth century. There is common critical consent that tragedy in the classical sense of the word is no longer possible. Thinkers, philosophers, and critics such as Nietzsche, Durrenmatt, and George Steiner have all agreed that the decline of the genre in the modern age is due to the total lack of a unified world image and the absence of a shared vision in a fragmented and ideologically diversified world. The production of Rosencrantz and Guildenstern are Dead in 1967 marked the rise of the genre of tragi-comedy as a more appropriate reflection of the spirit of the age. At the hands of such great dramatists as Tom Stoppard (1937- ), the revived genre was not used as an extra comic element to give some comic relief to an otherwise tragic text, but it was given a postmodernist touch to serve the interpretation of the dilemma of man in the postmodernist world. This paper will study features of postmodernist tragi-comedy in Rosencrantz and Guildenstern are Dead as one of the most important plays in modern British theatre and investigate Stoppard’s vision of man and life as influenced by postmodernist thought and philosophy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=British" title="British">British</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodernist" title=" postmodernist"> postmodernist</a>, <a href="https://publications.waset.org/abstracts/search?q=Stoppard" title=" Stoppard"> Stoppard</a>, <a href="https://publications.waset.org/abstracts/search?q=tragi-comedy" title=" tragi-comedy"> tragi-comedy</a> </p> <a href="https://publications.waset.org/abstracts/142123/post-modernist-tragi-comedy-a-study-of-tom-stoppards-rosencrantz-and-guildenstern-are-dead" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142123.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">186</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">176</span> Some Specialized Prosaic Arts of the Ancient Arabic Literature; An Introductory Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shams%20Ul%20Hussain%20Zaheer">Shams Ul Hussain Zaheer</a>, <a href="https://publications.waset.org/abstracts/search?q=Bakht%20Rahman"> Bakht Rahman</a>, <a href="https://publications.waset.org/abstracts/search?q=Shehla%20Shams"> Shehla Shams</a>, <a href="https://publications.waset.org/abstracts/search?q=Bibi%20Alia"> Bibi Alia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Arabic literature, from the very past, is divided into two basic parts: prose and poetry. It will not be wrong if it is said that this division of literature is found even in the era of ignorance (before-Islam). In this period, prose was given a kind of ignorance while poetry was given much significance since people showed deeper interest in its melodious impact while listening and singing as compared to prose writing. Because poetry was directly appealing to the emotions of the people, it was celebrated as universal genre and prose remained in a subordinate position due to its diction. Despite this attitude towards the genre of prose, some of the prosaic arts were orally transmitted from one generation to another during the era of ignorance. Later on, in the Omayyad and Abbasside periods, when literature was properly classified, this art was given its proper placement in the history. In this connection, there are three important aspects of this genre i.e. will, tales, and sacerdotal words. This paper traces the historical background of these categories and how they contributed to the modern understanding of literature in terms of its diction, themes, and kinds of prose writing. This is a descriptive and qualitative research which will add insight into the role these terms can play in understanding the thinking and inclination of people in the days of ignorance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arabic%20literature" title="Arabic literature">Arabic literature</a>, <a href="https://publications.waset.org/abstracts/search?q=era%20of%20ignorance" title=" era of ignorance"> era of ignorance</a>, <a href="https://publications.waset.org/abstracts/search?q=prose" title=" prose"> prose</a>, <a href="https://publications.waset.org/abstracts/search?q=special%20arts" title=" special arts"> special arts</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a> </p> <a href="https://publications.waset.org/abstracts/160014/some-specialized-prosaic-arts-of-the-ancient-arabic-literature-an-introductory-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160014.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">93</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">175</span> A Comparative Genre-Based Study of Research Articles' Method and Results Sections Authored by Iranian and English Native Speakers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Amin%20Mozaheb">Mohammad Amin Mozaheb</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahnaz%20Saeidi"> Mahnaz Saeidi</a>, <a href="https://publications.waset.org/abstracts/search?q=Saeideh%20Ahangari"> Saeideh Ahangari</a>, <a href="https://publications.waset.org/abstracts/search?q=Saeideh%20Ahangari"> Saeideh Ahangari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present genre-driven study aims at comparing moves and sub-moves deployed by Iranian and English medical writers while writing their research articles in English. To obtain the goals of the study, the researchers randomly selected a number of medical articles and compared them using Nwogu (1997)’s model. The results of relevant statistical tests, Chi-square tests for goodness of fit, used for comparing the two groups of the articles dubbed IrISI (Iranian ISI articles) and EISI (English ISI articles) have shown that no significant difference exists between the two groups of the articles in terms of the moves and sub-moves used in the method and results sections of them. The findings can be beneficial for people interested in English for Specific Purposes (ESP) and medical experts. The findings can also increase language awareness and genre awareness among researchers who are interested in publishing their research outcomes in ISI-indexed journals in the Islamic Republic of Iran and some other world countries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=writing" title="writing">writing</a>, <a href="https://publications.waset.org/abstracts/search?q=ESP" title=" ESP"> ESP</a>, <a href="https://publications.waset.org/abstracts/search?q=research%20articles" title=" research articles"> research articles</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20sciences" title=" medical sciences"> medical sciences</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=scientific%20writing" title=" scientific writing"> scientific writing</a> </p> <a href="https://publications.waset.org/abstracts/15524/a-comparative-genre-based-study-of-research-articles-method-and-results-sections-authored-by-iranian-and-english-native-speakers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/15524.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">367</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">174</span> English Language Teaching Graduate Students' Use of Discussion Moves in Research Articles</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gamzegul%20Koca">Gamzegul Koca</a>, <a href="https://publications.waset.org/abstracts/search?q=Evrim%20%20Eveyik-Aydin"> Evrim Eveyik-Aydin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Genre and discipline-specific knowledge of academic discourse in writing has long been acknowledged as being a core skill to achieve formidable tasks that are expected of graduate students in academic settings. Genre analysis approaches can be adopted to unveil the challenges encountered in these tasks to be able to take instructional actions addressing the aspects of graduate writing that need improvement. In an attempt to find genre-specific academic writing needs of Turkish students enrolled in a graduate program in ELT, this study examines the rhetorical structure of discussion sections of research articles written during the course load stage of their graduate studies. The 35.437-word specialized corpus of graduate papers compiled for the purpose of the study includes discussions of 58 unpublished reports of empirical studies, 31 written in MA courses and 27 in Ph.D. courses by a total of 44 graduate students. The study does sentence-based move structure analysis using the framework developed by Eveyik-Aydın, Karabacak and Akyel in a corpus-based study that analyzed the discussion moves of expert writers in published articles in ELT journals indexed by Social Sciences Citation. The coding of 1577 sentences by three graders using this framework revealed that while the graduate papers included the same moves used in published articles, the rhetorical structure of MA and Ph.D. papers showed considerable differences in terms of the frequency of occurrence of main discussion moves, including interpretation of the results and drawing implications. The implications of these findings will be discussed with respect to the needs of graduate writers and the expectations of discourse community. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=discussion%20moves" title="discussion moves">discussion moves</a>, <a href="https://publications.waset.org/abstracts/search?q=genre-specific%20rhetorical%20structure" title=" genre-specific rhetorical structure"> genre-specific rhetorical structure</a>, <a href="https://publications.waset.org/abstracts/search?q=move%20analysis" title=" move analysis"> move analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=research%20articles" title=" research articles"> research articles</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20specialized%20corpus%20of%20graduate%20papers" title=" the specialized corpus of graduate papers"> the specialized corpus of graduate papers</a> </p> <a href="https://publications.waset.org/abstracts/93714/english-language-teaching-graduate-students-use-of-discussion-moves-in-research-articles" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93714.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">166</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">173</span> Levels of Reflection in Engineers EFL Learners: The Path to Content and Language Integrated Learning Implementation in Chilean Higher Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sebasti%C3%A1n%20Olivares%20Lizana">Sebastián Olivares Lizana</a>, <a href="https://publications.waset.org/abstracts/search?q=Marianna%20Oyanedel%20Gonz%C3%A1lez"> Marianna Oyanedel González</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study takes part of a major project based on implementing a CLIL program (Content and Language Integrated Learning) at Universidad Técnica Federico Santa María, a leading Chilean tertiary Institution. It aims at examining the relationship between the development of Reflective Processes (RP) and Cognitive Academic Language Proficiency (CALP) in weekly learning logs written by faculty members, participants of an initial professional development online course on English for Academic Purposes (EAP). Such course was designed with a genre-based approach, and consists of multiple tasks directed to academic writing proficiency. The results of this analysis will be described and classified in a scale of key indicators that represent both the Reflective Processes and the advances in CALP, and that also consider linguistic proficiency and task progression. Such indicators will evidence affordances and constrains of using a genre-based approach in an EFL Engineering CLIL program implementation at tertiary level in Chile, and will serve as the starting point to the design of a professional development course directed to teaching methodologies in a CLIL EFL environment in Engineering education at Universidad Técnica Federico Santa María. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=EFL" title="EFL">EFL</a>, <a href="https://publications.waset.org/abstracts/search?q=EAL" title=" EAL"> EAL</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=CLIL" title=" CLIL"> CLIL</a>, <a href="https://publications.waset.org/abstracts/search?q=engineering" title=" engineering"> engineering</a> </p> <a href="https://publications.waset.org/abstracts/68936/levels-of-reflection-in-engineers-efl-learners-the-path-to-content-and-language-integrated-learning-implementation-in-chilean-higher-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68936.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">395</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">172</span> Movie Genre Preference Prediction Using Machine Learning for Customer-Based Information </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haifeng%20Wang">Haifeng Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Haili%20Zhang"> Haili Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Most movie recommendation systems have been developed for customers to find items of interest. This work introduces a predictive model usable by small and medium-sized enterprises (SMEs) who are in need of a data-based and analytical approach to stock proper movies for local audiences and retain more customers. We used classification models to extract features from thousands of customers’ demographic, behavioral and social information to predict their movie genre preference. In the implementation, a Gaussian kernel support vector machine (SVM) classification model and a logistic regression model were established to extract features from sample data and their test error-in-sample were compared. Comparison of error-out-sample was also made under different Vapnik–Chervonenkis (VC) dimensions in the machine learning algorithm to find and prevent overfitting. Gaussian kernel SVM prediction model can correctly predict movie genre preferences in 85% of positive cases. The accuracy of the algorithm increased to 93% with a smaller VC dimension and less overfitting. These findings advance our understanding of how to use machine learning approach to predict customers’ preferences with a small data set and design prediction tools for these enterprises. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=computational%20social%20science" title="computational social science">computational social science</a>, <a href="https://publications.waset.org/abstracts/search?q=movie%20preference" title=" movie preference"> movie preference</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a> </p> <a href="https://publications.waset.org/abstracts/83723/movie-genre-preference-prediction-using-machine-learning-for-customer-based-information" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83723.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">260</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">171</span> Gender Construction in Contemporary Dystopian Fiction in Young Adult Literature: A South African Example</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johan%20Anker">Johan Anker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to discuss the nature of gender construction in modern dystopian fiction, the development of this genre in Young Adult Literature and reasons for the enormous appeal on the adolescent readers. A recent award winning South African text in this genre, The Mark by Edith Bullring (2014), will be used as example while also comparing this text to international bestsellers like Divergent (Roth:2011), The Hunger Games (Collins:2008) and others. Theoretical insights from critics and academics in the field of children’s literature, like Ames, Coats, Bradford, Booker, Basu, Green-Barteet, Hintz, McAlear, McCallum, Moylan, Ostry, Ryan, Stephens and Westerfield will be referred to and their insights used as part of the analysis of The Mark. The role of relevant and recurring themes in this genre, like global concerns, environmental destruction, liberty, self-determination, social and political critique, surveillance and repression by the state or other institutions will also be referred to. The paper will shortly refer to the history and emergence of dystopian literature as genre in adult and young adult literature as part of the long tradition since the publishing of Orwell’s 1984 and Huxley’s Brave New World. Different factors appeal to adolescent readers in the modern versions of this hybrid genre for young adults: teenage protagonists who are questioning the underlying values of a flawed society like an inhuman or tyrannical government, a growing understanding of the society around them, feelings of isolation and the dynamic of relationships. This unease leads to a growing sense of the potential to act against society (rebellion), and of their role as agents in a larger community and independent decision-making abilities. This awareness also leads to a growing sense of self (identity and agency) and the development of romantic relationships. The specific modern tendency of a female protagonist as leader in the rebellion against state and state apparatus, who gains in agency and independence in this rebellion, an important part of the identification with and construction of gender, while being part of the traditional coming-of-age young adult novel will be emphasized. A comparison between the traditional themes, structures and plots of young adult literature (YAL) with adult dystopian literature and those of recent dystopian YAL will be made while the hybrid nature of this genre and the 'sense of unease' but also of hope, as an essential part of youth literature, in the closure to these novels will be discussed. Important questions about the role of the didactic nature of these texts and the political issues and the importance of the formation of agency and identity for the young adult reader, as well as identification with the protagonists in this genre, are also part of this discussion of The Mark and other YAL novels. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=agency" title="agency">agency</a>, <a href="https://publications.waset.org/abstracts/search?q=dystopian%20literature" title=" dystopian literature"> dystopian literature</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20construction" title=" gender construction"> gender construction</a>, <a href="https://publications.waset.org/abstracts/search?q=young%20adult%20literature" title=" young adult literature"> young adult literature</a> </p> <a href="https://publications.waset.org/abstracts/101495/gender-construction-in-contemporary-dystopian-fiction-in-young-adult-literature-a-south-african-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/101495.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">190</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">170</span> Using Genre Analysis to Teach Contract Negotiation Discourse Practices</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anthony%20Townley">Anthony Townley</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Contract negotiation is fundamental to commercial law practice. For this study, genre and discourse analytical methodology was used to examine the legal negotiation of a Merger & Acquisition (M&A) deal undertaken by legal and business professionals in English across different jurisdictions in Europe. While some of the most delicate negotiations involved in this process were carried on face-to-face or over the telephone, these were generally progressed more systematically – and on the record – in the form of emails, email attachments, and as comments and amendments recorded in successive ‘marked-up’ versions of the contracts under negotiation. This large corpus of textual data was originally obtained by the author, in 2012, for the purpose of doctoral research. For this study, the analysis is particularly concerned with the use of emails and covering letters to exchange legal advice about the negotiations. These two genres help to stabilize and progress the negotiation process and account for negotiation activities. Swalesian analysis of functional Moves and Steps was able to identify structural similarities and differences between these text types and to identify certain salient discursive features within them. The analytical findings also indicate how particular linguistic strategies are more appropriately and more effectively associated with one legal genre rather than another. The concept of intertextuality is an important dimension of contract negotiation discourse and this study also examined how the discursive relationships between the different texts influence the way that texts are constructed. In terms of materials development, the research findings can contribute to more authentic English for Legal & Business Purposes pedagogies for students and novice lawyers and business professionals. The findings can first be used to design discursive maps that provide learners with a coherent account of the intertextual nature of the contract negotiation process. These discursive maps can then function as a framework in which to present detailed findings about the textual and structural features of the text types by applying the Swalesian genre analysis. Based on this acquired knowledge of the textual nature of contract negotiation, the authentic discourse materials can then be used to provide learners with practical opportunities to role-play negotiation activities and experience professional ways of thinking and using language in preparation for the written discourse challenges they will face in this important area of legal and business practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English%20for%20legal%20and%20business%20purposes" title="English for legal and business purposes">English for legal and business purposes</a>, <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title=" discourse analysis"> discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20analysis" title=" genre analysis"> genre analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=intertextuality" title=" intertextuality"> intertextuality</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogical%20materials" title=" pedagogical materials"> pedagogical materials</a> </p> <a href="https://publications.waset.org/abstracts/95918/using-genre-analysis-to-teach-contract-negotiation-discourse-practices" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95918.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">149</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">169</span> The Nation in Turmoil: A Post - Colonial Critique of Mqapheli Mngdi's Cartoons</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sizwe%20Dlamini">Sizwe Dlamini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There seems to be little that has been done to investigate cartoons from a literary criticism point of view. Cartoons have been given attention mostly in semiotics as compared to other scholarly perspectives. The aim of this article is to attempt to bridge this gap by observing cartoons through the post-colonial approach as a literary theory. Even though the post-colonial approach has been previously adopted to critique the prose genre and other genres in the African indigenous languages of South Africa, there seems to be no study that has used this approach to analyse the cartoon genre. This study is thus believed to be valuable to scientific knowledge in this sense. The study adopts textual analysis as a qualitative research technique since cartoons are the primary sources of data collection. Through the application of the post-colonial theory, the findings of the study demonstrate that there are depicted socio-cultural, socio-economic, and political issues in Mngadi’s editorial cartoons. These include. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=editorial%20cartoons" title="editorial cartoons">editorial cartoons</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonial%20theory" title=" post-colonial theory"> post-colonial theory</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20criticism" title=" literary criticism"> literary criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=turmoil" title=" turmoil"> turmoil</a> </p> <a href="https://publications.waset.org/abstracts/189382/the-nation-in-turmoil-a-post-colonial-critique-of-mqapheli-mngdis-cartoons" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/189382.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">19</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">168</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">167</span> Crossing Narrative Waters in World Cinema: Alamar (2009) and Kaili Blues (2015)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dustin%20Dill">Dustin Dill</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The physical movement of crossing over water points to both developing narrative tropes and innovative cinematography in World Cinema today. Two prime examples, Alamar (2009) by Pedro González-Rubio and Kaili Blues (2015) by Bi Gan, demonstrate how contemporary storytelling in a film not only rests upon these water shots but also emerges from them. The range of symbolism that these episodes in the story provoke goes hand in hand with the diverse filming sequences found in the respective productions. While González-Rubio decides to cut the scene into long and longer shots, Gan uses a single take. The differing angles depict equally unique directors and film projects: Alamar runs parallel to many definitions of the essay film, and Kaili Blues resonates much more with mystery and art film. Nonetheless, the crossing of water scenes influence the narratives’ subjects despite the generic consequences, and it is within the essay, mystery, and art film genres which allows for a better understanding of World Cinema. Tiago de Luca explains World Cinema’s prerogative of giving form to a certain type of spectator does not always line up. Given the immense number of interpretations of crossing water —the escape from suffering to find nirvana, rebirth, and colonization— underline the difficulty of categorizing it. If before this type of cross-genre was a trait that defined World Cinema in its beginning, this study observes that González-Rubio and Gan question the all-encompassing genre with their experimental shots of a universal narrative trope, the crossing of water. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinematography" title="cinematography">cinematography</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=world%20cinema" title=" world cinema"> world cinema</a> </p> <a href="https://publications.waset.org/abstracts/89655/crossing-narrative-waters-in-world-cinema-alamar-2009-and-kaili-blues-2015" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89655.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">292</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">166</span> Matter of the Artistic Content of Music (The Symphonies of Jovdat Hajiyev and the Creativity of Fikrat Amirov)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vusala%20Amirbayova%20Yusif">Vusala Amirbayova Yusif</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As we know the formation of new composer’s schools is determined not with the national belonging, but firstly with the development of the national spirit and eternal traditions. The formation of ancient musical traditions with the classical European genre and forms stand in the center of music art with Azerbaijani written tradition. Though this duty is actual for the neighboring eastern countries (for example, Iran, Turkey, Arabian countries, India), it has not been realized in the same level in real creative practice. It is necessary to mention that, the symphonic mughams formed from the joining of Eastern mugham-magam and classical music forms of Western symphony have been greeted with amazement and it was valuable practice in national composer’s art. It is true that, the new examples of the genre were formed in the next years (S.Alasgarov, T.Bakikhanov and etc.) and F.Amirov came back to the genre of symphonic mugham as he created Gulustani-Bayati-Shiraz”in,-1970. New tendency has begun to show itself in the development of national symphonic genre. The new attitude for mugham traditions showed itself in symphonic creative work of A.Malikov, A.Alizada, M.Guliyev,V.Adigozalov. The voice of mugham mentality has entered the depth of the Azerbaijan symphony, has determined the meditation spirit, dramatist process and content. This movement has formed the new notion of “mugham mphonism” with new meaning by our musicologists. In the modern musical science, in addition to traditional methods and procedures, the formation of new theories and approaches caused to the further increase of scientific interest towards the problem of artistic content in the art of composition. The initiative has been made to have overall look on this important subject as an example of the creativity of FikratAmirov (1922-1984)and JovdatHaciyev(1917-2000), the great composers of Azerbaijan and to analyze his some symphonic works from this point of view in the current report. In this connection, main provisions of the new theoretical concept that were comprehensively annotated in the article of Russian musicologist V. Kholopova named "Special and non-special musical content" were used. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content" title="content">content</a>, <a href="https://publications.waset.org/abstracts/search?q=composer" title=" composer"> composer</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=mugham%20symphony" title=" mugham symphony"> mugham symphony</a> </p> <a href="https://publications.waset.org/abstracts/37280/matter-of-the-artistic-content-of-music-the-symphonies-of-jovdat-hajiyev-and-the-creativity-of-fikrat-amirov" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37280.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">487</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">165</span> Silence the Silence No More: A Translanguaging Analysis of Two Silent Scenes in Wong Kar-Wai’s Multi-Genre Film ‘2046’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liu%20M.%20Hanmin">Liu M. Hanmin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wong Kar-Wai’s multi-genre film 2046, world premiered in 2004, comes with a vibrant mediascape made up of multiple named languages, code-switching, intertitles, news footage from the real world, and extra-linguistic means of communication. In film- and multilingual studies it is still a challenge to incorporate non-languages into an analytical framework with conventional languages. This paper uses translanguaging theory to read silent practices in Wong Kar-Wai’ 2046. Two scenes that feature the silence experience the most are taken as case studies. In these two scenes, we can identify two tropes of intersemiotic relationships that are co-articulated by silence: patriarchy and unfinished romance, respectively. The conclusion argues that silence in Wong Kar-Wai’s 2046 exerts multimodal agency by ‘speaking’ directly to the audience and in mutual directions to characters. Thereby, it moves beyond the passive role of merely accentuating or assisting the aural register of a film. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translanguaging" title="translanguaging">translanguaging</a>, <a href="https://publications.waset.org/abstracts/search?q=Wong%20Kar-Wai" title=" Wong Kar-Wai"> Wong Kar-Wai</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=inter%20semiotics" title=" inter semiotics"> inter semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Hong%20Kong%20media" title=" Hong Kong media"> Hong Kong media</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20culture" title=" film culture"> film culture</a> </p> <a href="https://publications.waset.org/abstracts/163911/silence-the-silence-no-more-a-translanguaging-analysis-of-two-silent-scenes-in-wong-kar-wais-multi-genre-film-2046" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163911.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">103</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">164</span> Arabic Fables in Contemporary Garbs: Ahmed Shawqī’s Reconstruction of Fables in the Modern Era</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monia%20Hejaiej">Monia Hejaiej</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The fable has lent itself to memorable imitations and reinventions. The writing of fables, in prose and verse, was widely cultivated not only in pre-Islamic Arabia but also in the middle ages, reaching its culmination with the Egyptian poet and man of letters Ahmad Shawqī (1989-1932), who revived the ancient tradition, a relatively minor and unexploited genre in the modern era, and re-wrote rimed fables with an Arab Islamic flavor, articulating a set of modern ethico-political concepts and sensibilities such as a belief in good judgment in governance, individual liberty, democracy, a sense of the brotherhood of man and justice. This essay aims to restore the 20th Century poet to his rightful place in the international pantheon of literary achievement, and offers an examination of the Arabian fabulist tradition as it appears in Arabic literature, and a treatment of this genre re-visiting a few representative samples of Ahmad Shawqī collection of fables and their implications for contemporary politics in the Middle East. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fable" title="fable">fable</a>, <a href="https://publications.waset.org/abstracts/search?q=politcs" title=" politcs"> politcs</a>, <a href="https://publications.waset.org/abstracts/search?q=governace" title=" governace"> governace</a>, <a href="https://publications.waset.org/abstracts/search?q=democracy" title=" democracy"> democracy</a>, <a href="https://publications.waset.org/abstracts/search?q=ethics%20of%20care" title=" ethics of care "> ethics of care </a> </p> <a href="https://publications.waset.org/abstracts/28913/arabic-fables-in-contemporary-garbs-ahmed-shawqis-reconstruction-of-fables-in-the-modern-era" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28913.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">676</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">163</span> Gender, Language and Body: Literary Representations in Popular Culture Narratives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eirini%20Arvanitaki">Eirini Arvanitaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Romance has incrementally grown in popularity over the last century. The first Mills & Boon romance novel was published in 1909 and since then romance has not only survived but it has become a long standing genre. There are several reasons behind its durability and success. First, its ability to please and appeal to a mass audience. Romance novels are products of commercial success situated in large scale production, especially if one takes into account the high volume of romance novels published, translated and distributed all around the world every month. Second, what has also contributed to keeping the romance genre alive is the content of the books and their effect on the reader. These are stories of two heterosexual individuals who meet, fall in love, face obstacles and successfully overcome them. Through the love plots, the books address anxieties, concerns and everyday troubles that the average reader can identify with. Additionally, the romance novel is a means of escapism from everyday life and responsibilities as well as a short-lived opportunity to enjoy personal time/space and focus on one’s self. Third, the genre’s ability to adapt to the periods and societies in which it is published has also assisted in prolonging its longevity. This paper discusses the ways in which popular romance authors write and engage with the body. Despite the claim that popular romance narratives adjust their contents in accordance with different time periods and social phenomena, the paper highlights the dissimilarities between writing the female and male body and suggests that women romance writers are yet to break free from phallogocentric law. The examination of the projections of the body and the language used to describe it indicates that these narratives are flexible enough to adjust to twenty-first century but only within the limits of their own conventionality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=body" title="body">body</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20representations" title=" literary representations"> literary representations</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20romance%20narratives" title=" popular romance narratives"> popular romance narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=taboo" title=" taboo"> taboo</a> </p> <a href="https://publications.waset.org/abstracts/132031/gender-language-and-body-literary-representations-in-popular-culture-narratives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132031.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">112</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">162</span> Implementing Online Blogging in Specific Context Using Process-Genre Writing Approach in Saudi EFL Writing Class to Improve Writing Learning and Teaching Quality</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sultan%20Samah%20A.%20Alenezi">Sultan Samah A. Alenezi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many EFL teachers are eager to look into the best way to suit the needs of their students in EFL writing courses. Numerous studies suggest that online blogging may present a social interaction opportunity for EFL writing students. Additionally, it can foster peer collaboration and social support in the form of scaffolding, which, when viewed from the perspective of socio-cultural theory, can boost social support and foster the development of students' writing abilities. This idea is based on Vygotsky's theories, which emphasize how collaboration and social interaction facilitate effective learning. In Saudi Arabia, students are taught to write using conventional methods that are totally under the teacher's control. Without any peer contact or cooperation, students are spoon-fed in a passive environment. This study included the cognitive processes of the genre-process approach into the EFL writing classroom to facilitate the use of internet blogging in EFL writing education. Thirty second-year undergraduate students from the Department of Languages and Translation at a Saudi college participated in this study. This study employed an action research project that blended qualitative and quantitative methodologies to comprehend Saudi students' perceptions and experiences with internet blogging in an EFL process-genre writing classroom. It also looked at the advantages and challenges people faced when blogging. They included a poll, interviews, and blog postings made by students. The intervention's outcomes showed that merging genre-process procedures with blogging was a successful tactic, and the Saudi students' perceptions of this method of online blogging for EFL writing were quite positive. The socio-cultural theory constructs that Vygotsky advocates, such as scaffolding, collaboration, and social interaction, were also improved by blogging. These elements demonstrated the improvement in the students' written, reading, social, and collaborative thinking skills, as well as their positive attitudes toward English-language writing. But the students encountered a variety of problems that made blogging difficult for them. These problems ranged from technological ones, such sluggish internet connections, to learner inadequacies, like a lack of computer know-how and ineffective time management. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blogging" title="blogging">blogging</a>, <a href="https://publications.waset.org/abstracts/search?q=process-gnere%20approach" title=" process-gnere approach"> process-gnere approach</a>, <a href="https://publications.waset.org/abstracts/search?q=saudi%20learenrs" title=" saudi learenrs"> saudi learenrs</a>, <a href="https://publications.waset.org/abstracts/search?q=writing%20quality" title=" writing quality"> writing quality</a> </p> <a href="https://publications.waset.org/abstracts/157041/implementing-online-blogging-in-specific-context-using-process-genre-writing-approach-in-saudi-efl-writing-class-to-improve-writing-learning-and-teaching-quality" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157041.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">120</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">161</span> Nostalgia in Photographed Books for Children – the Case of Photography Books of Children in the Kibbutz</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ayala%20Amir">Ayala Amir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper presents interdisciplinary research which draws on the literary study and the cultural study of photography to explore a literary genre defined by nostalgia – the photographed book for children. This genre, which was popular in the second half of the 20th century, presents the romantic, nostalgic image of childhood created in the visual arts in the 18th century (as suggested by Ann Higonnet). At the same time, it capitalizes on the nostalgia inherent in the event of photography as formulated by Jennifer Green-Lewis: photography frames a moment in the present while transforming it into a past longed for in the future. Unlike Freudian melancholy, nostalgia is an effect that enables representation by acknowledging the loss and containing it in the very experience of the object. The representation and preservation of the lost object (nature, childhood, innocence) are in the center of the genre of children's photography books – a modern version of ancient pastoral. In it, the unique synergia of word and image results in a nostalgic image of childhood in an era already conquered by modernization. The nostalgic effect works both in the representation of space – an Edenic image of nature already shadowed by its demise, and of time – an image of childhood imbued by what Gill Bartholnyes calls the "looking backward aesthetics" – under the sign of loss. Little critical attention has been devoted to this genre with the exception of the work of Bettina Kümmerling-Meibauer, who noted the nostalgic effect of the well-known series of photography books by Astrid Lindgren and Anna Riwkin-Brick. This research aims to elaborate Kümmerling-Meibauer's approach using the theories of the study of photography, word-image studies, as well as current studies of childhood. The theoretical perspectives are implemented in the case study of photography books created in one of the most innovative social structures in our time – the Israeli Kibbutz. This communal way of life designed a society where children will experience their childhood in a parentless rural environment that will save them from the fate of the Oedipal fall. It is suggested that in documenting these children in a fictional format, photographers and writers, images and words cooperated in creating nostalgic works situated on the border between nature and culture, imagination and reality, utopia and its realization in history. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=nostalgia" title="nostalgia">nostalgia</a>, <a href="https://publications.waset.org/abstracts/search?q=photography" title=" photography "> photography </a>, <a href="https://publications.waset.org/abstracts/search?q=childhood" title=" childhood"> childhood</a>, <a href="https://publications.waset.org/abstracts/search?q=children%27s%20books" title=" children's books"> children's books</a>, <a href="https://publications.waset.org/abstracts/search?q=kibutz" title=" kibutz"> kibutz</a> </p> <a href="https://publications.waset.org/abstracts/137929/nostalgia-in-photographed-books-for-children-the-case-of-photography-books-of-children-in-the-kibbutz" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137929.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">142</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">160</span> Narrative Constructs and Environmental Engagement: A Textual Analysis of Climate Fiction’s Role in Shaping Sustainability Consciousness</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dean%20J.%20Hill">Dean J. Hill</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper undertakes the task of conducting an in-depth textual analysis of the cli-fi genre. It examines how writing in the genre contributes to expressing and facilitating the articulation of environmental consciousness through the form of narrative. The paper begins by situating cli-fi within the literary continuum of ecological narratives and identifying the unique textual characteristics and thematic preoccupations of this area. The paper unfolds how cli-fi transforms the esoteric nature of climate science into credible narrative forms by drawing on language use, metaphorical constructs, and narrative framing. It also involves how descriptive and figurative language in the description of nature and disaster makes climate change so vivid and emotionally resonant. The work also points out the dialogic nature of cli-fi, whereby the characters and the narrators experience inner disputes in the novel regarding the ethical dilemma of environmental destruction, thus demanding the readers challenge and re-evaluate their standpoints on sustainability and ecological responsibilities. The paper proceeds with analysing the feature of narrative voice and its role in eliciting empathy, as well as reader involvement with the ecological material. In looking at how different narratorial perspectives contribute to the emotional and cognitive reaction of the reader to text, this study demonstrates the profound power of perspective in developing intimacy with the dominating concerns. Finally, the emotional arc of cli-fi narratives, running its course over themes of loss, hope, and resilience, is analysed in relation to how these elements function to marshal public feeling and discourse into action around climate change. Therefore, we can say that the complexity of the text in the cli-fi not only shows the hard edge of the reality of climate change but also influences public perception and behaviour toward a more sustainable future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cli-fi%20genre" title="cli-fi genre">cli-fi genre</a>, <a href="https://publications.waset.org/abstracts/search?q=ecological%20narratives" title=" ecological narratives"> ecological narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20arc" title=" emotional arc"> emotional arc</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative%20voice" title=" narrative voice"> narrative voice</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20perception" title=" public perception"> public perception</a> </p> <a href="https://publications.waset.org/abstracts/185841/narrative-constructs-and-environmental-engagement-a-textual-analysis-of-climate-fictions-role-in-shaping-sustainability-consciousness" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185841.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">31</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">159</span> Evaluating Key Attributes of Effective Digital Games in Tertiary Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roopali%20Kulkarni">Roopali Kulkarni</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuliya%20Khrypko"> Yuliya Khrypko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A major problem in educational digital game design is that game developers are often focused on maintaining the fun and playability of an educational game, whereas educators are more concerned with the learning aspect of the game rather than its entertaining characteristics. There is a clear need to understand what key aspects of digital learning games make them an effective learning medium in tertiary education. Through a systematic literature review and content analysis, this paper identifies, evaluates, and summarizes twenty-three key attributes of digital games used in tertiary education and presents a summary digital game-based learning (DGBL) model for designing and evaluating an educational digital game of any genre that promotes effective learning in tertiary education. The proposed solution overcomes limitations of previously designed models for digital game evaluation, such as a small number of game attributes considered or applicability to a specific genre of digital games. The proposed DGBL model can be used to assist game designers and educators with creating effective and engaging educational digital games for the tertiary education curriculum. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=DGBL%20model" title="DGBL model">DGBL model</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20games" title=" digital games"> digital games</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20games" title=" educational games"> educational games</a>, <a href="https://publications.waset.org/abstracts/search?q=game-based%20learning" title=" game-based learning"> game-based learning</a>, <a href="https://publications.waset.org/abstracts/search?q=tertiary%20education" title=" tertiary education"> tertiary education</a> </p> <a href="https://publications.waset.org/abstracts/147502/evaluating-key-attributes-of-effective-digital-games-in-tertiary-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147502.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">283</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=Tamasha%20genre&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Tamasha%20genre&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Tamasha%20genre&page=4">4</a></li> <li class="page-item"><a class="page-link" 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