CINXE.COM

<!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: internet drama series</title> <meta name="description" content="Search results for: internet drama series"> <meta name="keywords" content="internet drama series"> <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="internet drama series" 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 class="nav-item"> <a class="nav-link" href="https://waset.org/committees" rel="nofollow">Committees</a> </li> <li class="nav-item dropdown"> <a class="nav-link dropdown-toggle" href="#" id="navbarDropdownPublications" role="button" data-toggle="dropdown" aria-haspopup="true" aria-expanded="false"> Publications </a> <div class="dropdown-menu" aria-labelledby="navbarDropdownPublications"> <a class="dropdown-item" href="https://publications.waset.org/abstracts">Abstracts</a> <a class="dropdown-item" href="https://publications.waset.org">Periodicals</a> <a class="dropdown-item" href="https://publications.waset.org/archive">Archive</a> </div> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/page/support" title="Support">Support</a> </li> </ul> </div> </div> </nav> </div> </header> <main> <div class="container mt-4"> <div class="row"> <div class="col-md-9 mx-auto"> <form method="get" action="https://publications.waset.org/abstracts/search"> <div 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="internet drama series"> <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> 4375</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: internet drama series</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4375</span> Product Placement and Advertising in Chinese Internet Dramas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Portugal%20Marques%20de%20Carvalho%20Lourenco">Patricia Portugal Marques de Carvalho Lourenco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents the richness of product placement usage in Chinese IP dramas. It shows the artistry of storytellers in craftily intertwining the drama’s storyline with the items promoted, resulting in a flawless Chinese tapestry that perfectly blends internet visual entertainment with advertising, significantly enhancing the production’s worth. Successful IQIYI drama We are all alone, is a flawless example of that, attracting collaborative interest from products and brands across a spectrum of market segments, motivated to showcase their utility, value, benefits, and appeal to viewers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=product%20placement" title="product placement">product placement</a>, <a href="https://publications.waset.org/abstracts/search?q=band-aid%20ads" title=" band-aid ads"> band-aid ads</a>, <a href="https://publications.waset.org/abstracts/search?q=post%20ads" title=" post ads"> post ads</a>, <a href="https://publications.waset.org/abstracts/search?q=barrage%20advertising" title=" barrage advertising"> barrage advertising</a>, <a href="https://publications.waset.org/abstracts/search?q=China" title=" China"> China</a>, <a href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series" title=" internet drama series"> internet drama series</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20Europe" title=" Latin Europe"> Latin Europe</a> </p> <a href="https://publications.waset.org/abstracts/166569/product-placement-and-advertising-in-chinese-internet-dramas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166569.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">82</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">4374</span> The Use of Methods and Techniques of Drama Education with Kindergarten Teachers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vladimira%20Hornackova">Vladimira Hornackova</a>, <a href="https://publications.waset.org/abstracts/search?q=Jana%20Kottasova"> Jana Kottasova</a>, <a href="https://publications.waset.org/abstracts/search?q=Zuzana%20Vanova"> Zuzana Vanova</a>, <a href="https://publications.waset.org/abstracts/search?q=Anna%20Jungrova"> Anna Jungrova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Present study deals with drama education in preschool education. The research made in this field brings a qualitative comparative survey with the aim to find out the use of methods and techniques of drama education in preschool education at university or secondary school graduate preschool teachers. The research uses a content analysis and an unstandardized questionnaire for preschool teachers and obtained data are processed with the help of descriptive methods and correlations. The results allow a comparison of aspects applied through drama in preschool education. The research brings impulses for education improvement in kindergartens and inspiration for university study programs of drama education in the professional training of preschool teachers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drama%20education" title="drama education">drama education</a>, <a href="https://publications.waset.org/abstracts/search?q=preschool%20education" title=" preschool education"> preschool education</a>, <a href="https://publications.waset.org/abstracts/search?q=preschool%20teacher" title=" preschool teacher"> preschool teacher</a>, <a href="https://publications.waset.org/abstracts/search?q=research" title=" research"> research</a> </p> <a href="https://publications.waset.org/abstracts/48421/the-use-of-methods-and-techniques-of-drama-education-with-kindergarten-teachers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48421.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">365</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">4373</span> Trends in Arabic Drama Series (Musalsalat) Production</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paradigm%20Shift">Paradigm Shift</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In an overwhelmingly import oriented content bazaar of Arabian TV industry, Musalsalat stand unique in their indigenousness and mass popularity, being rivalled only by movies and football. The Arabic term ‘Musalsalat’ stands for drama series with episodes of 30-45 minutes duration; the format being close to Latin American Telenovela concept-clear cut stories with definitive endings that permit narrative closures. Traditionally Musalsalat were either situational comedies or religiously inspired. Present-day productions have started addressing historical, creative and socially progressive issues targeting the young and well-travelled audiences. Though these soaps get prime ratings throughout the year, it is during Ramadan, that they become a raving success in securing viewership. That Musalsalat have become paramount Ramadan programming is evident by their dominance on the grid and attracting heavy ad-spend. The number of Musalsalats produced specifically for Ramadan reached over 100 last year with Ramadan TV advertising amounting to USD1, 947bn constituting 21% of the total regional TV Adspend of USD 9,189bn. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Musalsalat" title="Musalsalat">Musalsalat</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=pan%20Arab" title=" pan Arab"> pan Arab</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/30402/trends-in-arabic-drama-series-musalsalat-production" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30402.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">282</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">4372</span> Towards a Re-theatricalized Drama: Yu Shangyuan’s Translation of J. M. Barrie’s The Admirable Crichton</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li%20Jiawei">Li Jiawei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-1920s, Chinese dramatist Yu Shangyuan rallied a group of intellectuals and launched the National Theatre Movement to champion the incorporation of Chinese operatic resources into modern spoken drama. In 1927, the fluctuating milieu impelled Yu and most of his comrades to leave Beijing, rendering the movement a truncated undertaking. Offering to illuminate the influence or reverberation of the movement, this research examines Yu’s translation of J. M. Barrie’ s The Admirable Crichton, the first play Yu published upon returning to Beijing in 1929. It unveils that Yu still espoused the value of Chinese opera on modern stage, but his perception of drama was more instructive and rooted in theatre’s fundamental traditions, customs, and mechanics. Influenced by Sheldon Cheney’s theatrical idea, Yu aligned Western realistic drama with “psychologic drama” and Chinese opera with “aesthetic drama” and argued for a “re-theatricalized drama” that could “present psychologic drama aesthetically.” With such a perception, Yu chose to translate a psychologic drama and strove to imbue the play with an aesthetic spirit by inserting symbolic stage designs and employing poetic language. The exploration of Yu’s translation of The Admirable Crichton sheds light on the new insights that translation studies might bring to theatre historiography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Shangyuan" title="Yu Shangyuan">Yu Shangyuan</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20China" title=" modern China"> modern China</a> </p> <a href="https://publications.waset.org/abstracts/160405/towards-a-re-theatricalized-drama-yu-shangyuans-translation-of-j-m-barries-the-admirable-crichton" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160405.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">67</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">4371</span> The Stereotypes of Female Roles in TV Drama of Taiwan and Japan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya%20Ting%20Tang">Ya Ting Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Social learning theory has told us that the cognitions of gender roles come from learning. Thus, the images of gender roles which media describes will shape our cognitions. Taiwan and Japan are both in the East Asian cultural Sphere, and more or less influenced by the traditional Chinese culture. But our social structure and changes must be different. Others, the study also concerns that, with the rise of female consciousness in society, whether the female stereotype in drama of Taiwan and Japan are improved. This research first uses content analysis to analyze drama of Taiwan and Japan in 2003 and 2013 on how to shape female roles. Then use text analysis to conduct a qualitative analysis. Result of this study showed that drama on how to depict women indeed have changed, women are no longer just talk about love, but can serve as president or doctor, and show its mettle in the workplace. In Japanese drama, the female roles have diverse occupation than Taiwanese drama, and not just a background character set. But in most Taiwanese drama, female roles are given a career, but it always put emphasis on women emotionally. To include, although the stereotype in the drama of Taiwan and Japan are improved, female will still be derided due to their ages, love or marriage situations. Taiwanese drama must depict the occupation of female more diverse and let the female roles have more space to play, rather than focusing on romance which women of any occupation can have. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20images" title="female images">female images</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20drama" title=" TV drama"> TV drama</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20roles" title=" gender roles"> gender roles</a> </p> <a href="https://publications.waset.org/abstracts/13666/the-stereotypes-of-female-roles-in-tv-drama-of-taiwan-and-japan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13666.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">278</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">4370</span> The Power of Earned Media: Exploring the Key Success of Love Destiny, Thai Smash Hit Television Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wilaiwan%20Jongwilaikasaem">Wilaiwan Jongwilaikasaem</a>, <a href="https://publications.waset.org/abstracts/search?q=Phatteera%20Sarakornborrirak"> Phatteera Sarakornborrirak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While Thai television producers feel anxious about digital disruption, Love Destiny, Thai television period drama became smash hit in Thailand in 2018. Audience throughout the country not only watched the drama both offline and online but also spread the content of the drama on social media and followed cultural trends from the protagonist. Thus, the main purpose of this article is to examine the secret behind the success of Love Destiny. Data were collected from content analysis and in-depth interview. The result shows that the key success of the drama is from earned media phenomenon from the audience and marketers’ engagement. As Love Destiny has full-flavored content with traditional challenged plot, delicate production, and presentation of Thainess in a positive and tangible way; audience and marketers are enthusiastic about building up the popular trend of Love Destiny on social media and also coming back home to watch televisions when the drama was on the air. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thai%20drama" title="Thai drama">Thai drama</a>, <a href="https://publications.waset.org/abstracts/search?q=earned%20media" title=" earned media"> earned media</a>, <a href="https://publications.waset.org/abstracts/search?q=Love%20Destiny" title=" Love Destiny"> Love Destiny</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/97216/the-power-of-earned-media-exploring-the-key-success-of-love-destiny-thai-smash-hit-television-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97216.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">177</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">4369</span> Drama Education: Towards Building Multicultural Adolescent Peer Relationships</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tahnee%20West">Tahnee West</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Drama education is increasingly understood as a useful tool in promoting positive social change and cultural awareness. The effects of both positive and negative peer relationships are also a researched facet of education systems. Despite this, very little research has been conducted in the intersection of these two areas, even given current, significant public interest surrounding multicultural relationships. This research addresses a problem faced by educators and students: facilitating meaningful multicultural relationships. The research explores the following question in an Australian context: in what ways does Drama education affect peer relationships between culturally diverse students? In doing so, the study explores the various challenges and experiences of a multicultural group of adolescents, in terms of forming and maintaining effective intercultural friendships, while participating in a series of drama workshops. The project presents a starting point for providing educators with strategies for inclusivity and relationship development amongst diverse student populations. Findings show that Drama education can positively affect culturally diverse young people’s peer relationships; interactions between participants and data collected in focus groups throughout the eight-week Drama program show a steady improvement in sense of trust, support, tolerance, empathy, familiarity with other participants, and enjoyment. Data also points to a positive correlation between the Drama activities and improved conflict resolution and communication skills, as well as an improved understanding of the other participants’ cultures. Diversities and commonalities within the group were explored, with similarities encouraging social cohesion, and decreasing cultural ‘cliques’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20diversity" title="cultural diversity">cultural diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20education" title=" drama education"> drama education</a>, <a href="https://publications.waset.org/abstracts/search?q=friendship" title=" friendship"> friendship</a>, <a href="https://publications.waset.org/abstracts/search?q=multicultural" title=" multicultural"> multicultural</a>, <a href="https://publications.waset.org/abstracts/search?q=peer%20relationships" title=" peer relationships"> peer relationships</a> </p> <a href="https://publications.waset.org/abstracts/124206/drama-education-towards-building-multicultural-adolescent-peer-relationships" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124206.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">143</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">4368</span> Methodologies, Findings, Discussion, and Limitations in Global, Multi-Lingual Research: We Are All Alone - Chinese Internet Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Portugal%20Marques%20de%20Carvalho%20Lourenco">Patricia Portugal Marques de Carvalho Lourenco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A three-phase methodological multi-lingual path was designed, constructed and carried out using the 2020 Chinese Internet Drama Series We Are All Alone as a case study. Phase one, the backbone of the research, comprised of secondary data analysis, providing the structure on which the next two phases would be built on. Phase one incorporated a Google Scholar and a Baidu Index analysis, Star Network Influence Index and Mydramalist.com top two drama reviews, along with an article written about the drama and scrutiny of Chinese related blogs and websites. Phase two was field research elaborated across Latin Europe, and phase three was social media focused, having into account that perceptions are going to be memory conditioned based on past ideas recall. Overall, research has shown the poor cultural expression of Chinese entertainment in Latin Europe and demonstrated the inexistence of Chinese content in French, Italian, Portuguese and Spanish Business to Consumer retailers; a reflection of their low significance in Latin European markets and the short-life cycle of entertainment products in general, bubble-gum, disposable goods without a mid to long-term effect in consumers lives. The process of conducting comprehensive international research was complex and time-consuming, with data not always available in Mandarin, the researcher’s linguistic deficiency, limited Chinese Cultural Knowledge and cultural equivalence. Despite steps being taken to minimize the international proposed research, theoretical limitations concurrent to Latin Europe and China still occurred. Data accuracy was disputable; sampling, data collection/analysis methods are heterogeneous; ascertaining data requirements and the method of analysis to achieve a construct equivalence was challenging and morose to operationalize. Secondary data was also not often readily available in Mandarin; yet, in spite of the array of limitations, research was done, and results were produced. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=research%20methodologies" title="research methodologies">research methodologies</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20research" title=" international research"> international research</a>, <a href="https://publications.waset.org/abstracts/search?q=primary%20data" title=" primary data"> primary data</a>, <a href="https://publications.waset.org/abstracts/search?q=secondary%20data" title=" secondary data"> secondary data</a>, <a href="https://publications.waset.org/abstracts/search?q=research%20limitations" title=" research limitations"> research limitations</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20dramas" title=" online dramas"> online dramas</a>, <a href="https://publications.waset.org/abstracts/search?q=china" title=" china"> china</a>, <a href="https://publications.waset.org/abstracts/search?q=latin%20europe" title=" latin europe"> latin europe</a> </p> <a href="https://publications.waset.org/abstracts/166515/methodologies-findings-discussion-and-limitations-in-global-multi-lingual-research-we-are-all-alone-chinese-internet-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166515.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">68</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">4367</span> The Element of Episode and Idea in the Descriptive Poetry of Hutai'A</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abubakar%20Ismaila%20Yusuf">Abubakar Ismaila Yusuf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research studied element of episode (events) and idea in the descriptive poetry of Hutai’a with the intention to sale the opinion of this type of analysis to others, and also encourage and open door for researchers that thinks only in drama and novel those elements can be implemented. The research uses explanatory method to point out the element of episode and ideology from the said poetry to show that the same element of drama can be seen in poetry. The research finds that element of drama and novel can be seen and implemented analytically in dramatic and some descriptive poetry and its likes. The researcher finally advice colleague to widened scope of research and always think of modernizing it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hutai%27a" title="Hutai'a">Hutai'a</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=novel" title=" novel"> novel</a> </p> <a href="https://publications.waset.org/abstracts/48474/the-element-of-episode-and-idea-in-the-descriptive-poetry-of-hutaia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48474.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">344</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">4366</span> Sororicide in the Forbidden City: Women Oppressing Each Other in the Chinese TV Drama “The Legend of Zhen Huan”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muriel%20Canas-Walker">Muriel Canas-Walker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 2012 TV series "The Legend of Zhen Huan" is one of the most popular and influential historical dramas on Chinese television and is regularly discussed on Chinese social media such as Weibo. Set in the Qing dynasty, the 76 episodes series features palace intrigues focused on female characters. In the Forbidden City, concubines must survive the cruelty of an extreme polygamy system, constantly competing against each other. The patriarchal oppression of the women sequestred in the harem relies on fierce female competition and does not leave much room for compassion. Using Michel Foucault’s theory of power, feminist theories, and visual anthropology, this paper analyzes the complex relationships between the female characters, from their rise to power to their fall from grace, from alliances to betrayals, from sorority to sororicide. This analysis aims to understand what makes this series particularly popular with young female audiences in China and explain its importance in Chinese media. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20TV%20Drama" title="Chinese TV Drama">Chinese TV Drama</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title=" popular culture"> popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Theory%20of%20Power" title=" Theory of Power"> Theory of Power</a> </p> <a href="https://publications.waset.org/abstracts/169214/sororicide-in-the-forbidden-city-women-oppressing-each-other-in-the-chinese-tv-drama-the-legend-of-zhen-huan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169214.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">193</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">4365</span> Audience Perceptions and Attitudes Towards the Representation of Tribal South African Culture in Drama Series</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oluwayemisi%20Mary%20Onyenanakeya">Oluwayemisi Mary Onyenanakeya</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20%20Onyenankeya"> Kevin Onyenankeya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Commercial media entertainment offerings especially mainstream soap operas, in South Africa, are progressively infusing dominant social values and ideas which are alien to South African tribal societies. In most of the commodified television drama series, people who hold tight to traditional beliefs and values are often characterised as traditionalists, while those who have imbibed the western defined dicta and ideology of modernity are seen as progressives. This study, therefore, sought to ascertain how South African tribal language, traditional institutions, values, social norms and ancestral beliefs are portrayed through the television drama, Generations: The Legacy, and what the viewers think about those constructions and the implication for cultural identity. The mixed methods approach was employed involving the administration of questionnaire to 350 participants selected through random sampling and a content analysis of 20 episodes of Generations: The Legacy. The findings further showed that the values and traditions represented in generation do not significantly reflect the South African tribal tradition and values (p-value > 0.05). In most instances where traditional values are represented they tend to be portrayed as old fashioned (p-value > 0.05), and inferior and backward (p-value > 0.05). In addition, the findings indicate that Generations: The legacy is a vehicle for promoting dominant culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20opera" title=" soap opera"> soap opera</a>, <a href="https://publications.waset.org/abstracts/search?q=South%20Africa" title=" South Africa"> South Africa</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/98596/audience-perceptions-and-attitudes-towards-the-representation-of-tribal-south-african-culture-in-drama-series" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98596.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">288</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">4364</span> Breaking the Silence and Rewriting the Script</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlette%20Groome">Carlette Groome</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examined the role of drama in the lives of four women. The researcher concluded that drama can be an avenue of healing and could be an effective means of social work intervention in the communities as well as female empowerment. The participants in the study were able to, through the dramatic process; re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed. The research conducted examined the role of drama in the lives of four women living in volatile communities in Jamaica, who were each exposed to violence in one, or multiple, forms. The women were trained by Sistren Theatre Collective in the use of drama for education (edutainment), and were actresses in Sistren's street theatre drama group. Using their own personal and collective experiences, they used drama to raise social consciousness at the community level, about violence and other issues affecting women. The study employed a narrative case study approach and was grounded in a constructivist paradigm. This paradigm was coupled with a basic interpretive qualitative method and the concept of the reflective practitioner provided the foundation for the analysis. Through individual conversations with the women, themes of abuse, resilience, self- esteem, and empowerment arose sharply. The women explored drama and understood it to be instrumental in healing different aspects of their lives. Also, through the dramatic process; they were able to re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=women" title="women">women</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=healing" title=" healing"> healing</a>, <a href="https://publications.waset.org/abstracts/search?q=community" title=" community"> community</a> </p> <a href="https://publications.waset.org/abstracts/30497/breaking-the-silence-and-rewriting-the-script" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30497.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">340</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">4363</span> Secure Authentication Scheme Based on Numerical Series Cryptography for Internet of Things</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maha%20Aladdin">Maha Aladdin</a>, <a href="https://publications.waset.org/abstracts/search?q=Khaled%20Nagaty"> Khaled Nagaty</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Hamdy"> Abeer Hamdy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The rapid advancement cellular networks and wireless networks have laid a solid basis for the Internet of Things. IoT has evolved into a unique standard that allows diverse physical devices to collaborate with one another. A service provider gives a variety of services that may be accessed via smart apps anywhere, at any time, and from any location over the Internet. Because of the public environment of mobile communication and the Internet, these services are highly vulnerable to a several malicious attacks, such as unauthorized disclosure by hostile attackers. As a result, the best option for overcoming these vulnerabilities is a strong authentication method. In this paper, a lightweight authentication scheme that is based on numerical series cryptography is proposed for the IoT environments. It allows mutual authentication between IoT devices Parametric study and formal proofs are utilized to illustrate that the pro-posed approach is resistant to a variety of security threats. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=internet%20of%20things" title="internet of things">internet of things</a>, <a href="https://publications.waset.org/abstracts/search?q=authentication" title=" authentication"> authentication</a>, <a href="https://publications.waset.org/abstracts/search?q=cryptography" title=" cryptography"> cryptography</a>, <a href="https://publications.waset.org/abstracts/search?q=security%20protocol" title=" security protocol"> security protocol</a> </p> <a href="https://publications.waset.org/abstracts/154760/secure-authentication-scheme-based-on-numerical-series-cryptography-for-internet-of-things" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154760.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">121</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">4362</span> Multidisciplinary Training of Social Work and Applied Drama: From the Perspective of the Third Space</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yen%20Yi%20Huang">Yen Yi Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to explore the application of strategies in applied drama to the social work education arena in order to enhance students' creativity, curiosity, and aesthetic sensitivity. Also, applied drama is used as a means to facilitate students' reflection-in-action and improve their understanding of issues on creative aging, gender equality, human rights, bullying, and prejudice. This paper mainly uses the perspective of Homi K. Bhabha's third space to explore the impact of applied drama and social work training on students. First, it focuses on how students create new understandings and insights in the third space of multidisciplinary training studies. Second, it analyzes how the hybridity and negotiation of ideas between applied drama and social work were created. Finally, it discusses the follow-up effects of the training and the factors that promote or hinder the hybridity and generation of the third space. This paper uses students' reflection papers for analysis. It is not focused on a discussion of the effectiveness of the teaching but attempts to bring new insights into the applications of applied drama to the social work education arena. The hybridity and generation of the third space require handling power strategically and looking after the emotional space of the students. Taking part in the training allows students in the third space of multidisciplinary training to reexamine the traditional framework of social work knowledge to create new ideas and possibilities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multidisciplinary" title="multidisciplinary">multidisciplinary</a>, <a href="https://publications.waset.org/abstracts/search?q=applied%20drama" title=" applied drama"> applied drama</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20work%20education" title=" social work education"> social work education</a>, <a href="https://publications.waset.org/abstracts/search?q=third%20space" title=" third space"> third space</a> </p> <a href="https://publications.waset.org/abstracts/100802/multidisciplinary-training-of-social-work-and-applied-drama-from-the-perspective-of-the-third-space" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100802.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">164</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">4361</span> Elusive Cats in the CBS Mystery Theater</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Logozna%20Wypych">Katarzyna Logozna Wypych</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Being present in the world’s literature for centuries, cats are one of the most underappreciated and misunderstood species. The affluence of topics and taboos portrayed by cats in literature as well as in other means of art is noteworthy. Not only would the reality without the presence of a cat be less unpredictable, but also certain plot changes could not take place, as only the animal seems to have a causative activity. In radio drama, cats, just like in the real world, modify, bend, and adjust reality to their liking, regardless of human characters. Having only the soundscape at hand, radio drama provides a fascinating insight into the symbolic and disturbing world of the most ambiguous and volatile relationships the animal world and humankind have ever known, that is of cats and people. Compliant with the assumed mysterious ambiance of the show, a vast number of the 1399 episodes of The CBS Radio Mystery Theater starred cats, most of which are not portrayed in a favorable manner. Cats become the beginning, the main body, and the ending of the radio drama in one cat person. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cats" title="cats">cats</a>, <a href="https://publications.waset.org/abstracts/search?q=felines" title=" felines"> felines</a>, <a href="https://publications.waset.org/abstracts/search?q=horror" title=" horror"> horror</a>, <a href="https://publications.waset.org/abstracts/search?q=mystery" title=" mystery"> mystery</a>, <a href="https://publications.waset.org/abstracts/search?q=radio%20drama" title=" radio drama"> radio drama</a> </p> <a href="https://publications.waset.org/abstracts/118317/elusive-cats-in-the-cbs-mystery-theater" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118317.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">193</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">4360</span> The Development of Iranian Theatrical Performance through the Integration of Narrative Elements from Western Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azadeh%20Abbasikangevari">Azadeh Abbasikangevari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background and Objectives: Theatre and performance are two separate themes. What is presented in Iran as a performance is the species and ritual and traditional forms of the play. The Iranian performance has its roots in myth and ritual. Drama is essentially a Western phenomenon that has gradually entered Iran and influenced Iranian performance. A theatre is based on antagonism (axis) and protagonism (anti-axis), while performance has a monotonous and steady motion. The elements of Iranian performance include field, performance on the stage, and magnification in performance, all of which are based on narration. This type of narration has been present in Iranian modern drama. The objective of this study was to analyze the drama structure according to narration elements by a comparison between the Western theater and the Iranian performance and determining the structural differences in the type of narrative. Materials and Methods: In this study, the elements of the drama were analyzed using the library method among the available library resources. The review of the literature included research articles and textbooks which focused on Iranian plays, as well as books and articles which encompassed narrative and drama element. Data were analyzed in the comparative-descriptive method. Results: Examining and studying different kinds of Iranian performances, showed that the narrative has always been a characteristic feature of Iranian plays. Iranians have narrated the stories and myths and have had a particular skill of oral literature. Over time, they slowly introduced narrative culture into their art, where this element is the most important structural element in Iran's dramatic art. Considering the fact that narration in Iranian traditional play, such as Ta'ziyeh and Naghali, was oral and consequently, it was slowly forgotten and excluded from written theatrical texts. Since the drama has entered in its western form in Iran, the plays written by the authors were influenced by narrative elements existing in western plays. Conclusions: The narrative’s element has undoubtedly had an impact on modern Iranian drama and Iranian contemporary drama. Therefore, the element of narration is an integral part of the Iranian traditional play structure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drama%20methodology" title="drama methodology">drama methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20performance" title=" Iranian performance"> Iranian performance</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20modern%20drama" title=" Iranian modern drama"> Iranian modern drama</a>, <a href="https://publications.waset.org/abstracts/search?q=narration" title=" narration"> narration</a> </p> <a href="https://publications.waset.org/abstracts/112800/the-development-of-iranian-theatrical-performance-through-the-integration-of-narrative-elements-from-western-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112800.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">129</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">4359</span> Creativity and Expressive Interpretation of Musical Drama in Children with Special Needs (Down Syndrome) in Special Schools Yayasan Pendidikan Anak Cacat, Medan, North Sumatera </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Junita%20Batubara">Junita Batubara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Children with special needs, especially those with disability in mental, physical or social/emotional interactions, are marginalized. Many people still view them as troublesome, inconvenience, having learning difficulties, unproductive and burdensome to society. This study intends to investigate; how musical drama can develop the ability to control the coordination of mental functions; how musical dramas can assist children to work together; how musical dramas can assist to maintain the child's emotional and physical health; how musical dramas can improve children creativity. The objectives of the research are: To know whether musical drama can control the coordination of mental function of children; to know whether musical drama can improve communication ability and expression of children; to know whether musical drama can help children work with people around them; to find out if musical dramas can develop the child's emotional and physical health; to find out if musical drama can improve children's creativity. The study employed a qualitative research approach. Data was collecting by listening, observing in depth through public hearings that select the key informants who were teachers and principals, parents and children. The data obtained from each public hearing was then processed (reduced), conclusion drawing/verification, presentation of data (data display). Furthermore, the model obtained was implementing for musical performance, where the benefits of the show are: musical drama can improve language skills; musical dramas are capable of developing memory and storage of information; developing communication skills and express themselves; helping children work together; assisting emotional and physical health; enhancing creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%20Down%20syndrome" title="children Down syndrome">children Down syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20script" title=" drama script"> drama script</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/75400/creativity-and-expressive-interpretation-of-musical-drama-in-children-with-special-needs-down-syndrome-in-special-schools-yayasan-pendidikan-anak-cacat-medan-north-sumatera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/75400.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">241</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">4358</span> The Portrayal of Journalists in K-dramas Leaves an Impression on Viewers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Susan%20Grantham">Susan Grantham</a>, <a href="https://publications.waset.org/abstracts/search?q=Emily%20S.%20Kinsky"> Emily S. Kinsky</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the popularity of K-drama viewership increases, the depiction of journalists’ news gathering and distribution behavior in these series can have an impact on viewers’ perceptions of journalism practices in Korea. Studies have shown that viewers are impacted both by their impressions of actual journalists delivering news, as well as by fictional portrayals of journalists they have seen. As mistrust in the media grows internationally, it is important to understand how journalists are viewed. K-dramas are an increasingly popular export and consumed across the globe. In 2021 Netflix had 74 million subscribers in the US/Canadian market, about 36% of its overall subscriber base, with an in- crease of about 16 million new subscribers during the pandemic. A Statista November 2023 survey found that K-dramas are moderately (27%) or very popular (41%). While Hallyu has grown increasingly in the past decade, between 2019 and 2021, viewership numbers for TV series produced in South Korea went up a staggering 200% in the U.S. Additionally, a 2023 KOCCA report about K-drama viewership in the U.S. found that, within the past year, male viewership became nearly equal to female viewership. This study evaluated how viewers perceive journalists and journalistic practices in South Korea as portrayed in eight K-drama series. Six in-depth interviews and two focus groups were conducted to evaluate viewer perceptions of journalism practices as portrayed in K-dramas. This study builds upon two previous research projects: a content analysis of the same eight K-dramas featuring journalists in a primary role and whose journalistic work is pivotal to the plot, followed by subsequent in-depth interviews with South Korean journalists. The K-dramas in the sample featured both print and broadcast journalists. Using clips from these K-drama series that featured journalistic practices, as well as pressure faced by journalists, participants were be asked a series of questions about their impressions of journalists and journalism in South Korea and how realistic they perceived these portrayals to be. The participants were comprised of viewers who frequently watched K-dramas and occasionally/seldom watched K-dramas. The initial findings show that regardless of how frequently the participants watched K-dramas, they indicated that the presentation of the journalists seemed pretty realistic, and that the journalists behaved ethically. Participants felt their portrayal was relatable to their impression of how journalists behaved in the United States. This was also true in terms of the internal pressure shown in the clips toward journalists that featured behavior by the journalists’ supervisors focused on supporting the media company’s political and business positions. The amount of negative feedback toward the journalists from the general public, as shown in the clips, seemed less realistic to the participants. The idea of ‘fake news’ as a function of the news consumer’s own personal beliefs, versus actual misinformation, resonated with the participants. Additional research is being conducted. Because Korea is an important source of news and information in East Asia, it is important to understand the potential perceptions of consumers and how they view journalistic practices in Korea. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethical%20journalism" title="ethical journalism">ethical journalism</a>, <a href="https://publications.waset.org/abstracts/search?q=K-drama" title=" K-drama"> K-drama</a>, <a href="https://publications.waset.org/abstracts/search?q=Korean%20journalists" title=" Korean journalists"> Korean journalists</a>, <a href="https://publications.waset.org/abstracts/search?q=viewer%20perceptions" title=" viewer perceptions"> viewer perceptions</a> </p> <a href="https://publications.waset.org/abstracts/191253/the-portrayal-of-journalists-in-k-dramas-leaves-an-impression-on-viewers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191253.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">20</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">4357</span> Distributed Perceptually Important Point Identification for Time Series Data Mining</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tak-Chung%20Fu">Tak-Chung Fu</a>, <a href="https://publications.waset.org/abstracts/search?q=Ying-Kit%20Hung"> Ying-Kit Hung</a>, <a href="https://publications.waset.org/abstracts/search?q=Fu-Lai%20Chung"> Fu-Lai Chung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the field of time series data mining, the concept of the Perceptually Important Point (PIP) identification process is first introduced in 2001. This process originally works for financial time series pattern matching and it is then found suitable for time series dimensionality reduction and representation. Its strength is on preserving the overall shape of the time series by identifying the salient points in it. With the rise of Big Data, time series data contributes a major proportion, especially on the data which generates by sensors in the Internet of Things (IoT) environment. According to the nature of PIP identification and the successful cases, it is worth to further explore the opportunity to apply PIP in time series ‘Big Data’. However, the performance of PIP identification is always considered as the limitation when dealing with ‘Big’ time series data. In this paper, two distributed versions of PIP identification based on the Specialized Binary (SB) Tree are proposed. The proposed approaches solve the bottleneck when running the PIP identification process in a standalone computer. Improvement in term of speed is obtained by the distributed versions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=distributed%20computing" title="distributed computing">distributed computing</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20analysis" title=" performance analysis"> performance analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Perceptually%20Important%20Point%20identification" title=" Perceptually Important Point identification"> Perceptually Important Point identification</a>, <a href="https://publications.waset.org/abstracts/search?q=time%20series%20data%20mining" title=" time series data mining"> time series data mining</a> </p> <a href="https://publications.waset.org/abstracts/84358/distributed-perceptually-important-point-identification-for-time-series-data-mining" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84358.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">433</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">4356</span> Modern Literary Authors and Samuel Beckett's Trace of Lost Self in Modernity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Mehdi%20Mazaheri">Mohammad Mehdi Mazaheri</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Motiee%20Lahromi"> Mohammad Motiee Lahromi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a depression after world wars, Beckett's plays presented a picture of the world fragmented and disrupted. Among other modern literary works, Beckett's path-breakingly innovative literature presented the parodies of pointlessness of human actions and thoughts in the world. This new dramatic style catapulted Beckett to the centre stage of modern drama, though it should be mentioned that he may not have been influenced in this without the prevailing climate of ideas. The prevailing literary attitude of Modernism indicates that the modern world is irrational and incoherent. The present study explores Samuel Beckett's literary approach to modern drama and shows how the author could create the characters stuck in a lifelong suspicious about the Self. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20drama" title="modern drama">modern drama</a>, <a href="https://publications.waset.org/abstracts/search?q=absurdity" title=" absurdity"> absurdity</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20theatre%20of%20the%20absurd" title=" the theatre of the absurd"> the theatre of the absurd</a>, <a href="https://publications.waset.org/abstracts/search?q=existentialism" title=" existentialism"> existentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=self%20searching" title=" self searching "> self searching </a> </p> <a href="https://publications.waset.org/abstracts/12117/modern-literary-authors-and-samuel-becketts-trace-of-lost-self-in-modernity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12117.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">529</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">4355</span> Modern Tragic Substance in O’Neill’s Desire under the Elms and Mourning Becomes Electra</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 position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classical" title="classical">classical</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=O%27Neill" title=" O'Neill"> O'Neill</a>, <a href="https://publications.waset.org/abstracts/search?q=modern" title=" modern"> modern</a>, <a href="https://publications.waset.org/abstracts/search?q=tragic" title=" tragic"> tragic</a> </p> <a href="https://publications.waset.org/abstracts/132577/modern-tragic-substance-in-oneills-desire-under-the-elms-and-mourning-becomes-electra" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132577.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">146</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">4354</span> Cognitive Behaviour Drama: Playful Method to Address Fears in Children on the Higher-End of the Autism Spectrum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.Karnezi">H.Karnezi</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Tierney"> K. Tierney</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Childhood fears that persist over time and interfere with the children’s normal functioning may have detrimental effects on their social and emotional development. Cognitive behavior therapy is considered highly effective in treating fears and anxieties. However, given that many childhood fears are based on fantasy, the applicability of CBT may be hindered by cognitive immaturity. Furthermore, a lack of motivation to engage in therapy is another commonly encountered obstacle. The purpose of this study was to introduce and evaluate a more developmentally appropriate intervention model, specifically designed to provide phobic children with the motivation to overcome their fears. To this end, principles and techniques from cognitive and behavior therapies are incorporated into the ‘Drama in Education’ model. The Cognitive Behaviour Drama (CBD) method involves using the phobic children’s creativity to involve them in the therapeutic process. The children are invited to engage in exciting fictional scenarios tailored around their strengths and special interests. Once their commitment to the drama is established, a problem that they will feel motivated to solve is introduced. To resolve it, the children will have to overcome a number of obstacles culminating in an in vivo confrontation with the fear stimulus. The study examined the application of the CBD model in three single cases. Results in all three cases shown complete elimination of all fear-related symptoms. Preliminary results justify further evaluation of the Cognitive Behaviour Drama model. It is time and cost-effective, ensuring the clients' immediate engagement in the therapeutic process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=phobias" title="phobias">phobias</a>, <a href="https://publications.waset.org/abstracts/search?q=autism" title=" autism"> autism</a>, <a href="https://publications.waset.org/abstracts/search?q=intervention" title=" intervention"> intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a> </p> <a href="https://publications.waset.org/abstracts/118757/cognitive-behaviour-drama-playful-method-to-address-fears-in-children-on-the-higher-end-of-the-autism-spectrum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118757.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">128</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">4353</span> A Study on Hierarchy and Popularity of Foreign TV Series with Different Origin Countries among Chinese Audiences from a Uses and Gratification Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Terigele">Terigele</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cultural products are always shelved into different classes of a hierarchy that separates so-called highbrow and lowbrow cultures. This study illustrated that audiences might even construct a hierarchy according to the origin countries when consuming certain products. Chinese audiences now have access to TV series from all around the world thanks to the internet. TV series from different origin countries show some particular features in terms of length, theme, plots, accessibility, seriousness etc. Their audiences were therefore stereotyped because of what they watch. Based on in-depth interviews with 20 participants, this research has following findings: 1) Most popular origin countries of foreign TV series in China are Korea, the United States, the United Kingdom, Japan and European countries in a descending order. Korean TV series are most popular because they are less serious and more accessible compared to others. 2) In the hierarchy of the TV series, European TV series stand on the top followed by British and American TV series. Japanese TV series are also categorized into highbrow class. Korean TV series are at the bottom and always seen as lowbrow cultural products. 3) Most audiences consume TV series from more than one origin countries and have different needs when watching them. Participants reported that they watch European TV series because those TV series are more artistic than their counterparts and of great quality. They watch British and American TV series mainly to improve their English and to learn about the culture. They find Japanese TV series very enjoyable with a large variety of themes and impressive lines. Audiences watch Korean TV series mostly to entertain and kill time. 4) Audiences do care about cultural taste. Especially those who watch European, British and American TV series usually tend to consider audiences who watch nothing but Korean TV series to be shallow. On the other hand, Korean TV series’ audiences seem to care less about the hierarchy of the TV series. Even when they discuss the hierarchy, they tend to accept the judgments with ironies and jokes. Future studies can dig deeply into the genre and content of TV series with different origin countries and also investigate more about the psychology of audiences regarding the gender, age, education, socioeconomic status etc. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=foreign%20TV%20series" title="foreign TV series">foreign TV series</a>, <a href="https://publications.waset.org/abstracts/search?q=hierarchy" title=" hierarchy"> hierarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=popularity" title=" popularity"> popularity</a>, <a href="https://publications.waset.org/abstracts/search?q=uses%20and%20gratification" title=" uses and gratification"> uses and gratification</a> </p> <a href="https://publications.waset.org/abstracts/53622/a-study-on-hierarchy-and-popularity-of-foreign-tv-series-with-different-origin-countries-among-chinese-audiences-from-a-uses-and-gratification-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53622.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">243</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">4352</span> The Impact of Drama Education on Creativity Development at Preschool Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vladim%C3%ADra%20Horn%C3%A1%C4%8Dkov%C3%A1">Vladimíra Hornáčková</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper points out at the importance of creativity development in children of preschool age and analyses certain conditions and pedagogical principles which should be respected during the development of creativity in kindergartens. Research survey focuses on the development of creativity reflection at children in kindergartens at preschool age and based on a test of creativity it compares creativity of children in experimental and control groups. The goal is to find out if there are any differences among children in experimental and control classrooms in kindergartens; wherein experimental groups, there is preschool education with the use of drama education while in control groups there is not. On the basis of certain aspects, the gained data is compared through descriptive methods and correlations. Research results refer to reserves in creativity development in modern pre-primary education in the context of implemented and expected changes in didactic approach in the education of kindergartens. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=preschool%20child" title="preschool child">preschool child</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20in%20education" title=" drama in education"> drama in education</a>, <a href="https://publications.waset.org/abstracts/search?q=research" title=" research"> research</a>, <a href="https://publications.waset.org/abstracts/search?q=test%20of%20creativity" title=" test of creativity"> test of creativity</a> </p> <a href="https://publications.waset.org/abstracts/48398/the-impact-of-drama-education-on-creativity-development-at-preschool-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48398.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">312</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">4351</span> Television Global Market: International Success of Spanish Show Elite</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Avila%20Bohorquez">Ana Avila Bohorquez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Elite (Netflix, 2018-) is the second original series produced by Netflix in Spain. Premiered in 2018, it became an international success, both critically and among audiences. Reviewers praised its use of teen drama tropes with a more progressive twist. Netflix announced that the first season had been streamed by over 20 million accounts within its first month of release. This paper aims to determine what characteristics led to Elite’s international success, finding the elements of its narrative and visual design that resonate with global audiences. After reviewing the bibliography about transnational fiction, questionnaires sent to international audience members through social media shed light on what these characteristics are. Additionally, interviews with the creative team were performed in order to compare their point of view with the audiences’ perception. Even though Elite can be considered a Spanish show from its inception, it's setting in the “fantasy” world of the rich and its lack of social realism so common among Spanish productions managed to attract global audiences, to whom it has appealed on a more emotional level. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=elite" title="elite">elite</a>, <a href="https://publications.waset.org/abstracts/search?q=global%20television" title=" global television"> global television</a>, <a href="https://publications.waset.org/abstracts/search?q=Netflix" title=" Netflix"> Netflix</a>, <a href="https://publications.waset.org/abstracts/search?q=teen%20drama" title=" teen drama"> teen drama</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20fiction" title=" transnational fiction"> transnational fiction</a> </p> <a href="https://publications.waset.org/abstracts/136934/television-global-market-international-success-of-spanish-show-elite" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136934.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">179</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">4350</span> Behavioral Pattern of 2G Mobile Internet Subscribers: A Study on an Operator of Bangladesh</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azfar%20Adib">Azfar Adib</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Like many other countries of the world, mobile internet has been playing a key role in the growth of internet subscriber base in Bangladesh. This study has attempted to identify particular behavioral or usage patterns of 2G mobile internet subscribers who were using the service of the topmost internet service provider (as well as the top mobile operator) of Bangladesh prior to the launching of 3G services (when 2G was fully dominant). It contains some comprehensive analysis carried on different info regarding 2G mobile internet subscribers, obtained from the operator’s own network insights.This is accompanied by the results of a survey conducted among 40 high-frequency users of this service. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mobile%20internet" title="mobile internet">mobile internet</a>, <a href="https://publications.waset.org/abstracts/search?q=Symbian" title=" Symbian"> Symbian</a>, <a href="https://publications.waset.org/abstracts/search?q=Android" title=" Android"> Android</a>, <a href="https://publications.waset.org/abstracts/search?q=iPhone" title=" iPhone"> iPhone</a> </p> <a href="https://publications.waset.org/abstracts/66690/behavioral-pattern-of-2g-mobile-internet-subscribers-a-study-on-an-operator-of-bangladesh" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66690.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">438</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">4349</span> The Use of TV and the Internet in the Social Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khulood%20Miliany">Khulood Miliany</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines the media habits of young people in Saudi Arabia, in particular their use of the Internet and television in the domestic sphere, and how use of the Internet impacts upon other activities. In order to address the research questions, focus group interviews were conducted with Saudi university students. The study found that television has become a central part of social life within the household where television represents a main source for family time, particularly in Ramadan while the Internet is a solitary activity where it is used in more private spaces. Furthermore, Saudi females were also more likely to have their Internet access monitored and circumscribed by family members, with parents controlling the location and the amount of time spent using the Internet. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=domestication%20of%20technology" title="domestication of technology">domestication of technology</a>, <a href="https://publications.waset.org/abstracts/search?q=internet" title=" internet"> internet</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20context" title=" social context"> social context</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a>, <a href="https://publications.waset.org/abstracts/search?q=young%20people" title=" young people"> young people</a> </p> <a href="https://publications.waset.org/abstracts/14401/the-use-of-tv-and-the-internet-in-the-social-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14401.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">297</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">4348</span> Internet Addiction among Students: An Empirical Study in Pondicherry University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mashood%20C.">Mashood C.</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Vahid%20K."> Abdul Vahid K.</a>, <a href="https://publications.waset.org/abstracts/search?q=Ashique%20C.%20K."> Ashique C. K.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The technology is growing beyond human expectation. Internet is one of very sophisticated product of the information technology. It has various advantages like connecting the world, simplifying the difficult tasks done in past etc. Simultaneously it has demerits also; that is lack of authenticity and internet addiction. To find out the problems of internet addiction, a study conducted among the Postgraduate students of Pondicherry University and collected 454 samples. The study strictly focused to identify the internet addiction among students, influence and interdependence of personality on internet addiction among first years and second years. To evaluate this, we used two major analysis, these are Confirmatory Factor Analysis (CFA) to predict the internet addiction with the observed data and Logistic Regression to identify the difference between first years and second years in the case of internet addiction. Before applying to the core analysis, the data applied to some preliminary tests to check the model fit. The empirical findings shows that , the students of Pondicherry University are very much addicted to the internet, But there is no such huge difference between first years and second years in case of internet addiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=internet%20addiction" title="internet addiction">internet addiction</a>, <a href="https://publications.waset.org/abstracts/search?q=students" title=" students"> students</a>, <a href="https://publications.waset.org/abstracts/search?q=Pondicherry%20University" title=" Pondicherry University"> Pondicherry University</a>, <a href="https://publications.waset.org/abstracts/search?q=empirical%20study" title=" empirical study"> empirical study</a> </p> <a href="https://publications.waset.org/abstracts/24138/internet-addiction-among-students-an-empirical-study-in-pondicherry-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24138.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">459</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">4347</span> A Survey on Internet of Things and Fog Computing as a Platform for Internet of Things</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samira%20Kalantary">Samira Kalantary</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20Taghipour"> Sara Taghipour</a>, <a href="https://publications.waset.org/abstracts/search?q=Mansoure%20Ghias%20Abadi"> Mansoure Ghias Abadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Internet of Things (IOT) is a technological revolution that represents the future of computing and communications. IOT is the convergence of Internet with RFID, NFC, Sensor, and smart objects. Fog Computing is the natural platform for IOT. At present, the IOT as a new network communication technology has rapidly shifted from concept to application under fog computing virtual storage computing platform. In this paper, we describe everything about IOT and difference between cloud computing and fog computing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cloud%20computing" title="cloud computing">cloud computing</a>, <a href="https://publications.waset.org/abstracts/search?q=fog%20computing" title=" fog computing"> fog computing</a>, <a href="https://publications.waset.org/abstracts/search?q=Internet%20of%20Things%20%28IoT%29" title=" Internet of Things (IoT)"> Internet of Things (IoT)</a>, <a href="https://publications.waset.org/abstracts/search?q=IOT%20application" title=" IOT application"> IOT application</a> </p> <a href="https://publications.waset.org/abstracts/30670/a-survey-on-internet-of-things-and-fog-computing-as-a-platform-for-internet-of-things" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30670.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">585</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">4346</span> Innovative Techniques of Teaching Henrik Ibsen’s a Doll’s House</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shilpagauri%20Prasad%20Ganpule">Shilpagauri Prasad Ganpule</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The teaching of drama is considered as the most significant and noteworthy area in an ESL classroom. Diverse innovative techniques can be used to make the teaching of drama worthwhile and interesting. The paper presents the different innovative techniques that can be used while teaching Henrik Ibsen’s A Doll’s House [2007]. The innovative techniques facilitate students’ understanding and comprehension of the text. The use of the innovative techniques makes them explore the dramatic text and uncover a multihued arena of meanings hidden in it. They arouse the students’ interest and assist them overcome the difficulties created by the second language. The diverse innovative techniques appeal to the imagination of the students and increase their participation in the classroom. They help the students in the appreciation of the dramatic text and make the teaching learning situation a fruitful experience for both the teacher and students. The students successfully overcome the problem of L2 comprehension and grasp the theme, story line and plot-structure of the play effectively. The innovative techniques encourage a strong sense of participation on the part of the students and persuade them to learn through active participation. In brief, the innovative techniques promote the students to perform various tasks and expedite their learning process. Thus the present paper makes an attempt to present varied innovative techniques that can be used while teaching drama. It strives to demonstrate how the use of innovative techniques improve and enhance the students’ understanding and appreciation of Ibsen’s A Doll’s House [2007]. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ESL%20classroom" title="ESL classroom">ESL classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20techniques" title=" innovative techniques"> innovative techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=students%E2%80%99%20participation" title=" students’ participation"> students’ participation</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20of%20drama" title=" teaching of drama"> teaching of drama</a> </p> <a href="https://publications.waset.org/abstracts/34565/innovative-techniques-of-teaching-henrik-ibsens-a-dolls-house" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34565.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">626</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=internet%20drama%20series&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=5">5</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=6">6</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=7">7</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=8">8</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=9">9</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=10">10</a></li> <li class="page-item disabled"><span class="page-link">...</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=145">145</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=146">146</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); });*/ jQuery.get({ url: "https://publications.waset.org/xhr/user-menu", cache: false }).then(function(response){ jQuery('#mainNavMenu').append(response); }); }); </script> </body> </html>