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: horror</title> <meta name="description" content="Search results for: horror"> <meta name="keywords" content="horror"> <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="horror" 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="horror"> <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> 14</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: horror</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Simulating the Unseen: David Cronenberg’s Body Horror through Baudrillard’s Lens</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mario%20G.%20Rodriguez">Mario G. Rodriguez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper undertakes an in-depth exploration of David Cronenberg's filmography through Jean Baudrillard's theory of simulacra and simulation. Little has been written to show how Cronenberg’s cinema exemplifies Baudrillard’s conceptualization of postmodernity. The study employs Baudrillard’s historical orders of simulacra, as well as his definitions of hyperreality and simulation, to recontextualize Cronenberg’s films in an era characterized by the increasing influence of media and technology and Cronenberg's oeuvre presents a compelling canvas for examining the interplay between the real and the simulated. Through films like "Videodrome" (1983), "The Fly" (1986), and "eXistenZ" (1999), Cronenberg navigates the complex terrain of the human body, technology, and societal perceptions, echoing Baudrillard's concerns about the hyperreal and the dissolution of reality. The study concludes with a consideration of the role of "body-horror" as it pertains to Baudrillard's theory. It sheds light on how fear of loss of bodily autonomy, the relationship between technology and the human body, and the intersection of science, medicine, and horror reflect the nature of hyperreality and simulation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cronenberg" title="Cronenberg">Cronenberg</a>, <a href="https://publications.waset.org/abstracts/search?q=hyperreality" title=" hyperreality"> hyperreality</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation" title=" simulation"> simulation</a>, <a href="https://publications.waset.org/abstracts/search?q=Baudrillard" title=" Baudrillard"> Baudrillard</a> </p> <a href="https://publications.waset.org/abstracts/181472/simulating-the-unseen-david-cronenbergs-body-horror-through-baudrillards-lens" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181472.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">69</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Cognitive Stylistics and Horror Fiction: A Case Study of Stephen King’s Misery</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kriangkrai%20Vathanalaoha">Kriangkrai Vathanalaoha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Misery generates fear and anxiety in readers through its intense plot associated with the unpredictable emotional states of the nurse, Annie Wilkes. At the same time, she mentally and physically abuses the novelist victim, Paul Sheldon. The suspense is not only at the story level, where the violent expressions are used but also at the discourse level, where the linguistic structures may intentionally cause the reader to view language as disturbing performative. This performativity could be reflected through linguistic choices where the writer triggers a new imaginative world through experiential metafunction and schema disruption. This study explores striking excerpts from the fiction through mind style and transitivity analysis to demonstrate how the horrific experience contrasts when the protagonist and the antagonist converse extensively. The results reveal that stylistic deviation can be found at the syntactic levels, where the intensity of emotions can be apparent when the protagonist is verbally abused. In addition, transitivity can flesh out how the protagonist is expressed chiefly through the internalized process, whereas the antagonist is eminent with the externalized process. The findings suggest that the application of cognitive stylistics, such as mind style and transitivity analysis, could contribute to the mental representation of horrific reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=horror" title="horror">horror</a>, <a href="https://publications.waset.org/abstracts/search?q=mind%20style" title=" mind style"> mind style</a>, <a href="https://publications.waset.org/abstracts/search?q=misery" title=" misery"> misery</a>, <a href="https://publications.waset.org/abstracts/search?q=stylistics" title=" stylistics"> stylistics</a>, <a href="https://publications.waset.org/abstracts/search?q=transitivity" title=" transitivity"> transitivity</a> </p> <a href="https://publications.waset.org/abstracts/153641/cognitive-stylistics-and-horror-fiction-a-case-study-of-stephen-kings-misery" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153641.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">141</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">12</span> The Politics of Hope in Climate Change Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naima%20Bilal">Naima Bilal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The contemporary Anthropocene novel, with all the atrocities, man-made and inflicted by Nature (and Supernature), differs from the Horror novel in one main characteristic, that being naively lingering to hope and the notion that all evils, days and people come to an end. The current article explores the psychological dimensions of this optimistic ending that Climate fiction novelists uphold and how does this 'hope' functions as a bait for the reader to act. The primary sources for the research are The Ministry for the Future by Kim Stanley Robinson, Parable of the Sower by Octivia Butller and Amtiv Ghosh’s Gun Island. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hope%20in%20contemporary%20anthroprocene%20literature" title="hope in contemporary anthroprocene literature">hope in contemporary anthroprocene literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Pakistani%20science%20fiction%20novels" title=" Pakistani science fiction novels"> Pakistani science fiction novels</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20fiction%20as%20a%20remedy%20to%20contemporary%20climate%20problems" title=" science fiction as a remedy to contemporary climate problems"> science fiction as a remedy to contemporary climate problems</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20the%20new%20religion" title=" science the new religion"> science the new religion</a> </p> <a href="https://publications.waset.org/abstracts/187949/the-politics-of-hope-in-climate-change-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187949.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">32</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> From Prince to Vampire: The Image of Vlad Tepeș Dracula in Popular Culture. Case Study: Castlevania, From Video Game to Netflix Production</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Claudia%20Horeanu">Claudia Horeanu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ever since the first horror films, Count Dracula, the image inspired mainly by the novel written by Bram Stoker, is an almost indispensable character in popular culture. In the shadow of his vampire image is a Romanian ruler, Vlad Țepeș, from Wallachia, a ruler who was also nicknamed Drăculea. The purpose of this research is to analyze the evolution of the image of Vlad Tepeș/Dracula in popular culture, identifying the reasons and themes associated with this character, and to explore how the figure of Vlad Tepeș/Dracula evolved according to social and political changes in different historical periods. It is also believed that there are elements that have remained constant in the depictions of Vlad the Impaler/Dracula. <p class="card-text"><strong>Keywords:</strong> <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=dracula" title=" dracula"> dracula</a>, <a href="https://publications.waset.org/abstracts/search?q=vlad%20tepes" title=" vlad tepes"> vlad tepes</a>, <a href="https://publications.waset.org/abstracts/search?q=castlevania" title=" castlevania"> castlevania</a>, <a href="https://publications.waset.org/abstracts/search?q=vampire" title=" vampire"> vampire</a> </p> <a href="https://publications.waset.org/abstracts/173965/from-prince-to-vampire-the-image-of-vlad-tepes-dracula-in-popular-culture-case-study-castlevania-from-video-game-to-netflix-production" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173965.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">60</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">10</span> Bad Juju: The Translation of the African Zombi to Nigerian and Western Screens</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Randall%20Gray%20Underwood">Randall Gray Underwood</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Within the past few decades, zombie cinema has evolved from a niche outgrowth of the horror genre into one of the most widely-discussed and thoroughly-analyzed subgenres of film. Rising to international popularity during the 1970s and 1980s following the release of George Romero’s landmark classic, Night of the Living Dead (1968), and its much-imitated sequel, Dawn of the Dead (1978), the zombie genre returned to global screens in full force at the turn of the century following earth-shattering events such as the 9/11 terrorist attacks, America’s subsequent war in the Middle East, environmental pandemics, and the emergence of a divided and disconnected global populace in the age of social media. Indeed, the presence of the zombie in all manner of art and entertainment—movies, literature, television, video games, comic books, and more—has become nothing short of pervasive, engendering a plethora of scholarly writings, books, opinion pieces, and video essays from all manner of academics, cultural commentators, critics, and casual fans, with each espousing their own theories regarding the zombie’s allegorical and symbolic value within global fiction. Consequently, the walking dead of recent years have been variously positioned as fictive manifestations of human fears of societal collapse, environmental contagion, sexually-transmitted disease, primal regression, dwindling population rates, global terrorism, and the foreign “Other”. Less commonly analyzed within film scholarship, however, is the connection between the zombie’s folkloric roots and native African/Haitian spiritual practice; specifically, how this connection impacts the zombie’s presentation in African films by native storytellers versus in similar narratives told from a western perspective. This work will examine the unlikely connections and contrasts inherent the portrayal of the traditional African/Haitian zombie (or zombi, in Haitian French) in the Nollywood film Witchdoctor of the Livingdead (1985, Charles Abi Enonchong) versus its depiction in the early Hollywood films White Zombie (1932, Victor Halperin) and I Walked with a Zombie (1943, Jacques Tourneur), through analysis of each cinemas’ use of the zombie as a visual metaphor for subjugation/slavery, as well as differences in their representation of the the spiritual folklore from which the figure of the zombie originates. Select films from the post-Night of the Living Dead zombie cinema landscape will also warrant brief discussion in relation to Witchdoctor of the Livingdead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nollywood" title="Nollywood">Nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Zombie%20cinema" title=" Zombie cinema"> Zombie cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Horror%20cinema" title=" Horror cinema"> Horror cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Classical%20Hollywood" title=" Classical Hollywood"> Classical Hollywood</a> </p> <a href="https://publications.waset.org/abstracts/169706/bad-juju-the-translation-of-the-african-zombi-to-nigerian-and-western-screens" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169706.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">60</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">9</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">8</span> The Women's Orchestra and Music in Auschwitz-Birkenau: A Qualitative Study on Nazi Manipulation </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20T.%20%20Kohler">K. T. Kohler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Typically in war, force involves physical violence, though those who perpetrated the Holocaust expanded manipulation techniques to include mental violence. This qualitative research study was conducted to understand the effects that the music of the Women’s Orchestra of Auschwitz-Birkenau had on women prisoners during World War II. Over 100 testimonies from the USC Shoah Foundation’s Visual History Archive reveal that the orchestra’s music had a profoundly distressing effect on many of the women in the camp. Led by Gustav Mahler’s granddaughter, Alma Rosé, the orchestra rhythmed the life cycle of the camp, from marching to and from work, Sunday concerts, welcoming transports, to the prisoners’ walk to gas chambers. What surfaced from these testimonies was that the more technical the exposure a woman had to music before camp, the more disturbing its effect. The juxtaposition of beauty with the visible horror of the camp thrust them into an impossible state where suicide became a plausible alternative. By exploiting the Women’s Orchestra, the Nazis made music a critical component of manipulation within Auschwitz-Birkenau. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alma%20Ros%C3%A9" title="Alma Rosé">Alma Rosé</a>, <a href="https://publications.waset.org/abstracts/search?q=Auschwitz-Birkenau" title=" Auschwitz-Birkenau"> Auschwitz-Birkenau</a>, <a href="https://publications.waset.org/abstracts/search?q=camp%20life" title=" camp life"> camp life</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=Holocaust" title=" Holocaust"> Holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=O%C5%9Bwi%C4%99cim" title=" Oświęcim"> Oświęcim</a>, <a href="https://publications.waset.org/abstracts/search?q=Poland" title=" Poland"> Poland</a>, <a href="https://publications.waset.org/abstracts/search?q=women%E2%80%99s%20orchestra" title=" women’s orchestra "> women’s orchestra </a> </p> <a href="https://publications.waset.org/abstracts/102510/the-womens-orchestra-and-music-in-auschwitz-birkenau-a-qualitative-study-on-nazi-manipulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102510.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">185</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">7</span> On ‘Freaks’ and the Feminine in Margaret Atwood’s ‘Lusus Naturae’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shahd%20Alshammari">Shahd Alshammari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper considers one of Margaret Atwood’s short stories ‘Lusus Naturae'. Through a critical lens that makes use of Julia Kristeva’s work on Powers of Horror and abjection, this paper suggests that the monstrous girl is the disabled woman, the abject in society. The monster is used as a metaphor for the unknown, the misunderstood, and the ‘different’ woman. Culturally Relevant Teaching (CRT) is a pedagogy that calls for making course material accessible and relevant to students. Through the study of literary texts, we are able to help create agency inside and outside the classroom. Stories are a necessary part of establishing connections across borders and boundaries. Stories are meant to raise awareness both inside and outside the classroom. The discussion is equally important, and the text is meant to facilitate relevant questions that the students need to consider when it comes to identity. Questions to consider are: what does it mean to be a ‘girl’ today, and what implications and consequences are at hand when you fail to perform this gendered identity? Gender is sometimes a fatal bond in the Middle East, and even more so, is the disability. In the case of our unnamed protagonist, she undergoes a process of un-becoming, a non-linear process of growing up. In a sense, it is a counter-Bildungsroman. The reading of this text emphasizes that a non-linear narrative is sometimes necessary for the female protagonist’s self-awareness and development. Discussion in class facilitates this sense of agency and questioning of gender and disability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability" title="disability">disability</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a> </p> <a href="https://publications.waset.org/abstracts/90027/on-freaks-and-the-feminine-in-margaret-atwoods-lusus-naturae" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90027.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">660</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">6</span> Social Semiotics in the Selected Films of Chito S. Roño</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hannah%20Jennica%20P.%20Ello">Hannah Jennica P. Ello</a>, <a href="https://publications.waset.org/abstracts/search?q=Regina%20Via%20G.%20Garcia"> Regina Via G. Garcia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Films are famous expressions of art in the country. As an expression of art, it serves as a medium in which a culture is reflected. This paper studied how films reflected the Filipino culture. In this study, social semiotics was used to analyze the semiotic resources identified in the film. The films studied were 'Feng Shui', 'Sukob', and 'The Healing', which were three of the highest grossing horror films of Chito S. Roño. The objectives of the paper were (1) to identify the semiotic resources in the film, (2) to extract their meanings, and (3) to determine how these resources were perceived in the Filipino culture. The semiotic resources identified in each film are organized into three categories: color, practices and supernatural occurrences. Each semiotic resource is analyzed through the four dimensions of social semiotics, genre, style, modality, and discourse. For color, some of the semiotic resources identified are red, white and blue; for practices, Hagiolatry, and Mariolatry, faith healing and the belief in superstitions; and for supernatural occurrences, haunting ghosts, doppelganger attacks and returning from the dead were identified. The practices that are prominent in the films are Hagiolatry and Mariolatry, belief in feng shui and belief in faith healers and albularyos. The belief of these practices shows that Filipinos have a dual faith; belief in religion and a belief in superstitions. In short, Filipinos highly practice folk Catholicism and because of this, a mixture of different cultures can be seen, as having molded the Filipino culture to what it is today. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20semiotics" title=" social semiotics"> social semiotics</a> </p> <a href="https://publications.waset.org/abstracts/76923/social-semiotics-in-the-selected-films-of-chito-s-rono" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76923.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">338</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">5</span> Human Rights and Fundamental Freedoms in Crisis as Viewed during Bangladesh Parliamentary Election-2018 and Afterwards: A Contestant's Perspective on Social Measures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20S.%20Islam">Mohammad S. Islam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Elections in Bangladesh are always controversial, and sometimes it becomes a violent affair when state power is combined with politics. Despite the commitment of the ruling party- the polling government to ensure free, fair, and credible elections, the participants of opposition parties and the general voters became very disappointed, terribly frustrated, and severely shocked. It happened when numerous claims of serious irregularities of vote rigging and violence came out in broad daylight during the election. This paper addresses the issues of how the ruling party created frightening and a horror situation to make people silent over electoral fraud and violent incidents, including gang rape. It also seeks to demonstrate that election-2018 was simply the deceptive action of the ruling party to legitimate their power, but not to provide a minimum opportunity for voters to exercise their fundamental right to vote. The fundamental freedom and the rule of law seemed to be ignored completely in this election process and afterwards. With the help of state machinery, the government of the ruling party violated human rights, restricted fundamental freedoms, and humiliated social protection & dignity. The contestant’s views as witnessed and relevant literatures are cited first for conceptual understanding. Then, the paper will examine how a new dimension of circumstantial social measures related to sustained protection can reduce all kinds of violence against humanity towards establishing a peaceful democratic society. Finally, this paper interprets the key findings and considers wider implications. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electoral%20fraud" title="electoral fraud">electoral fraud</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20rights" title=" human rights"> human rights</a>, <a href="https://publications.waset.org/abstracts/search?q=sustained%20protection" title=" sustained protection"> sustained protection</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20measures" title=" social measures"> social measures</a>, <a href="https://publications.waset.org/abstracts/search?q=vote%20rigging" title=" vote rigging"> vote rigging</a> </p> <a href="https://publications.waset.org/abstracts/134693/human-rights-and-fundamental-freedoms-in-crisis-as-viewed-during-bangladesh-parliamentary-election-2018-and-afterwards-a-contestants-perspective-on-social-measures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/134693.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">188</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">4</span> The Journalistic Representation of Femicide in Italy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saveria%20Capecchi">Saveria Capecchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent decades, the issue of gender-based violence, particularly femicide, has been increasingly presented to the public by Italian media. However, it is often treated in a trivialized and sensationalistic manner, focusing on cases that exhibit the most "attractive" elements (brutality, sex, drugs, the young age and/or good looks of the victims, stories with "mystery," "horror," etc.). Furthermore, this phenomenon is most often represented by referring to the psycho-individualistic paradigm, focusing on the psychological and individual characteristics of the perpetrator rather than referring to the feminist and/or constructivist paradigms. According to the latter, the causes of male violence against women do not lie in the individual problems of the perpetrator but in the social and cultural construction of the power hierarchy between men and women. The following study presents the results of qualitative research on the journalistic approach to male violence against women in Italy, aimed at examining the limitations of the narrative strategies used by the media. The research focuses on the case of Giulia Cecchettin (killed by her ex-boyfriend Filippo Turetta on November 11, 2023), which has fueled the debate on the narrative surrounding male violence against women. This case was chosen based on its significant media coverage and the victim's family's commitment to combating gender-based violence. The research involves a content analysis of 150 articles from four different national newspapers («Corriere della Sera», «La Stampa», «Il Giornale», «la Repubblica»). Additionally, the study analyzed the social media use of two Italian newspapers («Corriere della Sera» and «la Repubblica»), examining 20 posts and their 600 related comments, highlighting the various types of public responses, including criticisms of how femicide is represented by the media. Furthermore, the paper will reflect on the role that the Italian women's movement and certain journalist communities have played in promoting a narrative of femicide that is more attentive to power dynamics and free from gender stereotypes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender-based%20violence" title="gender-based violence">gender-based violence</a>, <a href="https://publications.waset.org/abstracts/search?q=femicide" title=" femicide"> femicide</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20stereotypes" title=" gender stereotypes"> gender stereotypes</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian%20newspapers" title=" Italian newspapers"> Italian newspapers</a> </p> <a href="https://publications.waset.org/abstracts/192077/the-journalistic-representation-of-femicide-in-italy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192077.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">21</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">3</span> A Corpus-Linguistic Analysis of Online Iranian News Coverage on Syrian Revolution</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amaal%20Ali%20Al-Gamde">Amaal Ali Al-Gamde</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Syrian revolution is a major issue in the Middle East, which draws in world powers and receives a great focus in international mass media since 2011. The heavy global reliance on cyber news and digital sources plays a key role in conveying a sense of bias to a wide range of online readers. Thus, based on the assumption that media discourse possesses ideological implications, this study investigates the representation of Syrian revolution in online media. The paper explores the discursive constructions of anti and pro-government powers in Syrian revolution in 1000,000-word corpus of Fars online reports (an Iranian news agency), issued between 2013 and 2015. Taking a corpus assisted discourse analysis approach, the analysis investigates three types of lexicosemantic relations, the semantic macrostructures within which the two social actors are framed, the lexical collocations characterizing the news discourse and the discourse prosodies they tell about the two sides of the conflict. The study utilizes computer-based approaches, sketch engine and AntConc software to minimize the bias of the subjective analysis. The analysis moves from the insights of lexical frequencies and keyness scores to examine themes and the collocational patterns. The findings reveal the Fars agency’s ideological mode of representations in reporting events of Syrian revolution in two ways. The first is by stereotyping the opposition groups under the umbrella of terrorism, using words such as (law breakers, foreign-backed groups, militant groups, terrorists) to legitimize the atrocities of security forces against protesters and enhance horror among civilians. The second is through emphasizing the power of the government and depicting it as the defender of the Arab land by foregrounding the discourse of international conspiracy against Syria. The paper concludes discussing the potential importance of triangulating corpus linguistic tools with critical discourse analysis to elucidate more about discourses and reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=discourse%20prosody" title="discourse prosody">discourse prosody</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=keyness" title=" keyness"> keyness</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20macrostructure" title=" semantic macrostructure"> semantic macrostructure</a> </p> <a href="https://publications.waset.org/abstracts/87791/a-corpus-linguistic-analysis-of-online-iranian-news-coverage-on-syrian-revolution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87791.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">131</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">2</span> Representations of Wolves (Canis lupus) in Feature Films: The Detailed Analysis of the Text and Picture in the Chosen Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Barbara%20Klimek">Barbara Klimek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wolves are one of the most misrepresented species in literature and the media. They’re often portrayed as vicious, man-eating beasts whose main life goal is to hunt and kill people. Many movie directors use wolves as their main characters in different types of films, especially horror, thriller and science fiction movies to create gore and fear. This, in turn, results in people being afraid of wolves and wanting to destroy them. Such cultural creations caused wolves being stalked, abused and killed by people and in many areas they were completely destroyed. This paper analyzes the representations of wolves in the chosen films in the four main portrayed aspects: 1. the overall picture – true versus false, positive versus negative, based on stereotypes or realistic, displaying wolf behavior typical of the species or fake 2. subjectivity – how humans treat and talk about the animals – as subjects or as objects 3. animal welfare – how humans treat wolves and nature, are the human – animal relations positive and appropriate or negative and abusive 4. empathy – are human characters shown to co-feel the suffering with the wolves, do they display signs of empathy towards the animals, do the animals empathize with humans? The detailed analysis of the text and pictures presented in the chosen films concludes that wolves are especially misrepresented in the movies. Their behavior is shown as fake and negative, based on stereotypes and myths, the human – animal relations are shown mainly as negative where people fear the animals and hunt them and wolves stalk, follow, attack and kill humans. It shows that people do not understand the needs of these animals and are unable to show empathy towards them. The article will discuss the above-mentioned study results in detail and will present many examples. Animal representations in cultural creations, including film have a great impact on how people treat particular species of animals. The media shape people’s attitudes, what in turn results in people either respecting and protecting the animals or fearing, disliking and destroying the particular species. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=representations" title=" representations"> representations</a>, <a href="https://publications.waset.org/abstracts/search?q=wolves" title=" wolves"> wolves</a> </p> <a href="https://publications.waset.org/abstracts/95733/representations-of-wolves-canis-lupus-in-feature-films-the-detailed-analysis-of-the-text-and-picture-in-the-chosen-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95733.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">213</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">1</span> Silent Culminations in Operas Aida and Mazeppa</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stacy%20Jarvis">Stacy Jarvis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A silent culmination is a musical technique that creates or increases tension in a piece of music. It is a type of cadence in which the music gradually builds to a climax but suddenly stops without any resolution. This technique can create suspense and anticipation in the listener as they wait to find out what will happen next. It can also draw attention to a particular element of the music, such as a particular instrument or vocal line. Silent culminations can evoke a sense of mystery or ambiguity by not resolving the tension created. This technique has been used by composers of all musical genres, from classical to jazz, as well as in film scores. Silent culminations can also make a piece of music more dynamic and exciting. Verdi’s Aida is a classic example of the use of silent culminations to create tension and suspense. Throughout the opera, Verdi uses a technique of gradually building to a climax, only to abruptly stop without any resolution. This technique brings out the story's drama and intensity and creates anticipation for the climactic moments. For example, at the end of the second act, Verdi reaches a crescendo of tension as Aida and Radamès swear their undying love for one another, only to stop with a moment of silence. This technique also helps to draw attention to the important moments in the story, such as the duets between Aida and Radamès. By stopping the music just before it resolves, Verdi can create an atmosphere of anticipation and suspense that carries through to the opera's end. Silent culminations are used greatly in Aida and are integral to Verdi’s dramatic style. In his symphonic poem Mazeppa, Tchaikovsky uses silent culminations to emphasize the piece's drama and powerful emotions. The piece begins with a gentle introduction but quickly builds to a powerful climax. Throughout the piece, Tchaikovsky uses silent culminations to create tension and suspense, drawing the listener in and heightening the intensity of the music 2. The most dramatic moment of the piece comes when the music builds to a frantic climax and then suddenly cuts out, leaving the listener hanging in anticipation of what will happen next. This technique creates an intense atmosphere and leaves the listener eager to hear what comes next. In addition, the use of silent culminations helps to emphasize the strong emotions of the piece, such as fear, horror, and despair. By not resolving the tension with a resolution, the listener is left with a feeling of uneasiness and uncertainty that helps to convey the story of Mazeppa’s tragic fate. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Verdi" title="Verdi">Verdi</a>, <a href="https://publications.waset.org/abstracts/search?q=Tchaikovsky" title=" Tchaikovsky"> Tchaikovsky</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=culmination" title=" culmination"> culmination</a> </p> <a href="https://publications.waset.org/abstracts/161745/silent-culminations-in-operas-aida-and-mazeppa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161745.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">94</span> </span> </div> </div> </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>