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characters</title> <meta name="description" content="Search results for: female characters"> <meta name="keywords" content="female characters"> <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 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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="female characters"> <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> 3112</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: female characters</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3112</span> Trans-Gendered Female Characters: A Comparative Study of Two Female Characters in English and Persian Literature - Lady Macbeth and Gord Afarid</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyedeh%20Azadeh%20Johari">Seyedeh Azadeh Johari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For thousand years, the literature of the world has been mostly composed of men, and in all different forms of it, men have tried to propose their masculine desires, ideologies, and beliefs. What has been less written about or studied, however, was the role that female desire plays in the predominantly masculine society, and mostly the role of male desires was the key point in literature. Male writers have mostly shown their female characters either as stereotypes and void of dynamic characters, images of a meek person who bent to the will of her male superiors or as wicked or villains. The only exception was the kind of strong and courageous women who have mostly been masculinized by their authors, mostly male authors, as showing the valuable or important features of men, instead of women’s. These characters are transgendered by the author and have a gender identity or expression that differs from the sex to which they were assigned. This is the issue that is discussed in this project. We will refer to some examples of female characters who show masculine traits and characteristics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comparative%20literature" title="comparative literature">comparative literature</a>, <a href="https://publications.waset.org/abstracts/search?q=female" title=" female"> female</a>, <a href="https://publications.waset.org/abstracts/search?q=masculinized" title=" masculinized"> masculinized</a>, <a href="https://publications.waset.org/abstracts/search?q=transgendered" title=" transgendered"> transgendered</a> </p> <a href="https://publications.waset.org/abstracts/133409/trans-gendered-female-characters-a-comparative-study-of-two-female-characters-in-english-and-persian-literature-lady-macbeth-and-gord-afarid" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133409.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">153</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">3111</span> The Analysis of Female Characters in Shakespeare’s Work; Contrast between the Submissive and the Wicked</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jeong%20Hwa%20Ryong">Jeong Hwa Ryong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Numerous characters appear in the works of England’s most prominent play writer, William Shakespeare. Most of the time, his male protagonists possess various and complex characteristics throughout the storyline of his work, making it interesting for the readers to analyze their actions in many different aspects. However, some critics argue that unlike male characters, Shakespeare’s female characters are rather more flat and one-sided, pointing out that they are either the extreme version of good or evil. Especially, it is a significant topic to discuss in the modern days, considering the fact that gender stereotype is now a sensitive issue. Starting from such argument, it is important to address their purpose of being in the play and suggest their meaning to the modern readers of today. In this context, this paper analyzes several female characters of Shakespeare’s work by closely examining their actions and lines. The characters analyzed are Ophelia from Hamlet, Cordelia from King Lear, Katherine from The Taming of the Shrew, Goneril from King Lear and Lady Macbeth from Macbeth. Nevertheless, some female protagonists of Shakespeare’s work do not fall in to this category and exceed the limitations of others. Therefore this paper proposes alternative characters such as Juliet from Romeo and Juliet and Portia from The Merchant of Venice that are rather more complex and difficult to include in just one category. By doing so, this paper critically analyzes the strengths and weaknesses of many female characters in Shakespeare’s play. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20characters" title="female characters">female characters</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20stereotype" title=" gender stereotype"> gender stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=William%20Shakespeare" title=" William Shakespeare"> William Shakespeare</a> </p> <a href="https://publications.waset.org/abstracts/58070/the-analysis-of-female-characters-in-shakespeares-work-contrast-between-the-submissive-and-the-wicked" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58070.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">341</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">3110</span> Female Tenderness in Children’s Literature: A Content Analysis of Gender Depiction in Greek Preschool Picture Books</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Theopoula%20Karanikolaou">Theopoula Karanikolaou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During recent decades an increasing number of studies indicate the negative impact of gender stereotypes in various aspects of society as well as in everyday life. At the same time, children’s literature is considered an important factor of gender-role socialization as it provides young readers with socially accepted gender behavioral models. Using a content analysis approach, this research examines the female representations in Greek children’s literature published from 2009 to 2019. Results indicate that female characters are depicted as sensitive and tender both in texts and illustrations, traits that are almost absent in the male characters of the sample. Highlighting the emotional aspect of female characters in contrast with the restrained male attitude reproduces gender biases. Stereotypical gender representation in children’s literature cultivates further discrimination among men and women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%27s%20literature" title="children's literature">children's literature</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20representation" title=" female representation"> female representation</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20socialization" title=" gender socialization"> gender socialization</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a> </p> <a href="https://publications.waset.org/abstracts/161716/female-tenderness-in-childrens-literature-a-content-analysis-of-gender-depiction-in-greek-preschool-picture-books" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161716.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">89</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">3109</span> Getting Back Out There Looking like That: A Visual Critique of Rebecca Welton’s Costuming in Reference to Female Representation in Television</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20R.%20Gardner">Abigail R. Gardner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of big budget television comes a demand for more nuanced characters. However, female characters are often underdeveloped, especially those who do not fit neatly into societal norms. This study examines how Ted Lasso’s Rebecca Welton challenges this idea by using her on-screen fashion to mirror her motivations and character development. Through detailed analysis, this research explores how Rebecca’s wardrobe adds depth to her character, contrasting traditional strategies of costuming female characters in mainstream movies and television. While women, especially older women, are getting more screen time, very few have been given a wardrobe to reflect their dynamic characters. Rebecca’s costumes represent a form of visual storytelling typically reserved for film, but with the rise of single-camera television, there is an opportunity to redefine the relationship between women and fashion on screen. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title="costume design">costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20media" title=" gender and media"> gender and media</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20storytelling" title=" visual storytelling"> visual storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20in%20television" title=" women in television"> women in television</a> </p> <a href="https://publications.waset.org/abstracts/191201/getting-back-out-there-looking-like-that-a-visual-critique-of-rebecca-weltons-costuming-in-reference-to-female-representation-in-television" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191201.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">19</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3108</span> The Impact of Female Characters on a Movie’s Return on Investment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghav%20Lakhotia">Raghav Lakhotia</a>, <a href="https://publications.waset.org/abstracts/search?q=Sameer%20Ganu"> Sameer Ganu</a>, <a href="https://publications.waset.org/abstracts/search?q=Anshul%20Goel"> Anshul Goel</a>, <a href="https://publications.waset.org/abstracts/search?q=Abhishek%20Kumar"> Abhishek Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the age and times where women’s empowerment is a significant topic of discussion, we aim to analyze the potential gender diversity influence on box office revenues. The following research is carried out by collecting data from 400 Hollywood movies between the years 2014-2017 and performing regression analysis to find a correlation between the presence of female characters in movies and their return on investment (ROI). The paper finds that there is a positive relationship between the performance of the movies (its ROI) and the gender diversity i.e. the more the number of female characters, the higher the revenue generated. Another factor such as Number of Votes also has a direct impact on the revenue of the movie. The research not only takes into consideration the mere presence of women on screen but also the exchange of at least one dialogue among themselves, which is presented by the Bechdel Score of the movie. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bechdel" title="Bechdel">Bechdel</a>, <a href="https://publications.waset.org/abstracts/search?q=diversity" title=" diversity"> diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=Hollywood" title=" Hollywood"> Hollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=return%20on%20investment" title=" return on investment"> return on investment</a> </p> <a href="https://publications.waset.org/abstracts/94030/the-impact-of-female-characters-on-a-movies-return-on-investment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/94030.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">200</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">3107</span> The Representation of Female Characters by Women Directors in Surveillance Spaces in Turkish Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Berceste%20G%C3%BCl%C3%A7in%20%C3%96zdemir">Berceste Gülçin Özdemir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist film theories triggers the question: ‘Are feminist films produced in Turkish Cinema?’ The spaces that are used in the representation of women characters are observed to be used as spaces that convert characters into passive subjects on the basis of the space factor in the narrative. The representation of women characters in the possible surveillance spaces integrates the characters and compresses them in these spaces. In this study, narrative analysis was used to investigate women characters representation in the surveillance spaces. For the study framework, firstly a case study films are selected, and in the second level, women characters representations in surveillance spaces are argued by narrative analysis using feminist film theories. Two questions are argued with feminist film theories: ‘Why do especially women directors represent their female characters to viewers by representing them in surveillance spaces?’ and ‘Can this type of presentation contribute to the feminist film practice and become important with regard to feminist film theories?’ The representation of women characters in a passive and observed way in surveillance spaces of the narrative reveals the questioning of also the discourses of films outside of the main stream. As films that produce alternative discourses and reveal different cinematic languages, those outside the main stream are expected to bring other points of view also to the representation of women characters in spaces. These questionings are selected as the baseline and Turkish films such as Watch Tower and Mustang, directed by women, were examined. This examination paves the way for discussions regarding the women characters in surveillance spaces. Outcomes can be argued from the viewpoint of representation in the genre by feminist film theories. In the context of feminist film theories and feminist film practice, alternatives should be found that can corporally reveal the existence of women in both the representation of women characters in spaces and in the usage of the space factor. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist%20film%20theory" title="feminist film theory">feminist film theory</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20directors" title=" women directors"> women directors</a> </p> <a href="https://publications.waset.org/abstracts/64547/the-representation-of-female-characters-by-women-directors-in-surveillance-spaces-in-turkish-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64547.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">287</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">3106</span> A Feminist Critical Discourse Analysis of Selected Marvel Comics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Onaza%20Ajmal">Onaza Ajmal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the study is to explore the power relations linguistically and visually with reference to the representation of gender, race, violence, and empowerment through male characters and female superheroes from the two selected Marvel comics, Ms. Marvel (2014) and Captain Marvel (2019-). The study also aims to elaborate on the different cultural backgrounds of female superheroes and their choices and behaviors concerning the male characters. Moreover, it also seeks to explore whether the female superheroes reassert or resists the established gender roles. Using the tenets of critical discourse analysis (CDA) and feminist critical discourse analysis (FCDA) by Lazar (2005), the study analyzed the power relations from a feminist viewpoint. The linguistic analysis of textual features such as ‘adjectives’, ‘lexical items’, ‘metaphors’, and ‘use of pronouns’, etc., found in the selected comics is carried out under the framework of CDA given by Fairclough (1989). Kress and van Leeuwen's model of reading images (2006) are used to analyze the visual images in this study. The findings of the study show that despite the empowering nature of female superheroes, the unequal power relations between male and female characters are established linguistically and visually, which further sustains and reinforces the racial and patriarchal gender ideologies in the selected comics. Moreover, it is recommended that the female representations in the feminist themes of empowerment with respect to the Pakistani female superheroes should also be explored for further research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist%20critical%20discourse%20analysis" title="feminist critical discourse analysis">feminist critical discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchal%20gender%20ideology" title=" patriarchal gender ideology"> patriarchal gender ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20relations" title=" power relations"> power relations</a>, <a href="https://publications.waset.org/abstracts/search?q=superhero%20comics" title=" superhero comics"> superhero comics</a> </p> <a href="https://publications.waset.org/abstracts/133505/a-feminist-critical-discourse-analysis-of-selected-marvel-comics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133505.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">174</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">3105</span> Feminism and the Nigerian Female Question: A Feminist Appraisal of Zaynab Alkali’s Stillborn</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ogbu%20Harry%20Omilonye">Ogbu Harry Omilonye</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines feminism as a literary ideology which attempts to win for women a status of recognition and parity in a male-dominated society like Nigeria. This article deals essentially with the emergence of the ideology and literary personalities behind it. It focuses sharply on Zaynab Alkali’s brand of feminism as demonstrated in the delineation of her female characters vis-à-vis her male characters. The woman’s destiny, this paper believes, lies in her hand, and that true emancipation of women can only be realized through education and hard work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminism" title="feminism">feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=stillborn" title=" stillborn"> stillborn</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20ideology" title=" literary ideology"> literary ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a> </p> <a href="https://publications.waset.org/abstracts/9130/feminism-and-the-nigerian-female-question-a-feminist-appraisal-of-zaynab-alkalis-stillborn" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9130.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">270</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">3104</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">3103</span> Women Characters in Pakistani Films: A Critical Evaluation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Arshad">Ali Arshad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study examines the depiction of women characters in Urdu and Punjabi films. It is a critical evaluation of forty-eight Pakistani films. It explores the characters of women portrays in Urdu and Punjabi film of Pakistan. Using content analysis as methodology with feminist research that helps to investigate the phenomena and supports the study. Finding of the study shows that women characters in Urdu and Punjabi films are not the reflection of true Pakistani women rather this picture represents a negative image of Pakistani women in viewers mind. These characters don’t address the women’s issues nor do they present the solutions to these problems faced by Pakistani women. The characters of Pakistani women are not free from male prejudice, and these films do not portray the social and political role perform by actual Pakistani women. The analysis shows that the characters of women in Urdu and Punjabi films are based on the assumptions. <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=Pakistani" title=" Pakistani"> Pakistani</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=characters" title=" characters"> characters</a> </p> <a href="https://publications.waset.org/abstracts/49904/women-characters-in-pakistani-films-a-critical-evaluation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49904.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">303</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3102</span> A Qualitative Analysis of Audience Interpretations of the Saudi Youtube Soap Opera Takki</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Noor%20Attar">Noor Attar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes a qualitative study to examine the roles of the female characters in the Saudi YouTube soap opera Takki and audience reactions to them. It draws on concepts from Western feminist media studies and information about current portrayals of Saudi women in Saudi TV. The study will identify the themes that Takki presents related to new professional and personal opportunities for Saudi women and investigate Saudi women’s views of those themes. And finally, it will demonstrate how those themes may relate to the evolving positions and aspirations of Saudi women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=a%20qualitative%20analysis" title="a qualitative analysis">a qualitative analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20characters" title=" female characters"> female characters</a>, <a href="https://publications.waset.org/abstracts/search?q=Saudi%20Arabia" title=" Saudi Arabia"> Saudi Arabia</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20feminist%20media" title=" Western feminist media"> Western feminist media</a> </p> <a href="https://publications.waset.org/abstracts/52711/a-qualitative-analysis-of-audience-interpretations-of-the-saudi-youtube-soap-opera-takki" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52711.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">3101</span> Gender Differences in Adolescent Avatars: Gender Consistency and Masculinity-Femininity of Nicknames and Characters</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monika%20Paleczna">Monika Paleczna</a>, <a href="https://publications.waset.org/abstracts/search?q=Ma%C5%82gorzata%20Holda"> Małgorzata Holda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Choosing an avatar's gender in a computer game is one of the key elements in the process of creating an online identity. The selection of a male or female avatar can define the entirety of subsequent decisions regarding both appearance and behavior. However, when the most popular games available for the Nintendo console in 1998 were analyzed, it turned out that 41% of computer games did not have female characters. Nowadays, players create their avatars based mainly on binary gender classification, with male and female characters to choose from. The main aim of the poster is to explore gender differences in adolescent avatars. 130 adolescents aged 15-17 participated in the study. They created their avatars and then played a computer game. The creation of the avatar was based on the choice of gender, then physical and mental characteristics. Data on gender consistency (consistency between participant’s sex and gender selected for the avatar) and masculinity-femininity of avatar nicknames and appearance will be presented. The masculinity-femininity of avatar nicknames and appearance was assessed by expert raters on a very masculine to very feminine scale. Additionally, data on the relationships of the perceived levels of masculinity-femininity with hostility-friendliness and the intelligence of avatars will be shown. The dimensions of hostility-friendliness and intelligence were also assessed by expert raters on scales ranging from very hostile to very friendly and from very low intelligence to very high intelligence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender" title="gender">gender</a>, <a href="https://publications.waset.org/abstracts/search?q=avatar" title=" avatar"> avatar</a>, <a href="https://publications.waset.org/abstracts/search?q=adolescence" title=" adolescence"> adolescence</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20games" title=" computer games"> computer games</a> </p> <a href="https://publications.waset.org/abstracts/137968/gender-differences-in-adolescent-avatars-gender-consistency-and-masculinity-femininity-of-nicknames-and-characters" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137968.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">214</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">3100</span> I Feel Pretty: Using Discretization to Unpack Gender Disparity in Musical Theatre - A Study of Leonard Bernstein’s West Side Story</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Erin%20McKellar">Erin McKellar</a>, <a href="https://publications.waset.org/abstracts/search?q=Narelle%20Yeo"> Narelle Yeo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender disparity can be found in the representation of the female characters in Leonard Bernstein’s musical West Side Story. As a postmodern composer, Bernstein was open about his social activism, yet did not consider his compositional portrayal of female characters as part of that activism. Using discretization as an analysis tool, this thesis explores the melodic contours of male and female songs in West Side Story to show differences in complexity between male and female characterisation. The analysis explores the intervallic relationship between the vocal line and melodic color in relation to the accompaniment harmony, taking into consideration the use of consonance and dissonance. West Side Story is commonly known for its distinct use of the tritone motif and its inherent dissonance. It is evident when reviewing the findings of this study that there is a distinct disparity between male-led and female-led music. The male-led numbers consistently adhere to a dissonant aesthetic with the tritone motif implemented in all of the extracted songs. By contrast, the female songs remain consonant with simple intervallic movements. By examining the results of this study through the lens of Equality Feminism, this thesis finds that Bernstein has simplified the characterisations of the female leads. The thesis further proposes that without cognisant consideration of the compositional portrayal of women, the musical theatre will continue to reinforce gender stereotypes, as evident through this study of Bernstein’s West Side Story. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20theatre" title="music theatre">music theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20bias" title=" gender bias"> gender bias</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=Leonard%20Bernstein" title=" Leonard Bernstein"> Leonard Bernstein</a> </p> <a href="https://publications.waset.org/abstracts/144878/i-feel-pretty-using-discretization-to-unpack-gender-disparity-in-musical-theatre-a-study-of-leonard-bernsteins-west-side-story" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144878.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">161</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">3099</span> Place, Female and Latino Identities in Kali Fajardo-Anstine’s Short Story Collection Sabrina and Corina</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaroslav%20Kusnir">Jaroslav Kusnir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In her short story collection, Sabrina & Corina, Kali Fajardo-Anstine depicts mostly Latina characters of indigenous background living and travelling in the American West and the Southwest. In all the stories, place and the environment plays an important role in the construction of cultural identity of these characters that is influenced by their indigenous background, a specificity of the American West, its culture and environment, as well as a contemporary (modern) American culture, position of women and gender roles in a Latino community in the USA. This paper will analyze Fajardo-Anstine´s depiction of a specificity of place, especially of the American West and its role in a construction of Latino/a cultural identity in a modern American society as manifested especially in Fajardo-Anstine´s stories Any Further West and Sabrina & Corina. At the same time, the paper will point out Fajardo-Anstine´s construction of cultural identity of female characters and their gender roles in both Latino and a contemporary American societies. The research results show that the formation of Latina cultural identity is closely connected with both place, that is the American West and the Soutwest as well as with Latina and contemporary American cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=American%20culture" title="American culture">American culture</a>, <a href="https://publications.waset.org/abstracts/search?q=american%20west" title=" american west"> american west</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20identity" title=" cultural identity"> cultural identity</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20identity" title=" female identity"> female identity</a>, <a href="https://publications.waset.org/abstracts/search?q=latina%20identity" title=" latina identity"> latina identity</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a> </p> <a href="https://publications.waset.org/abstracts/170351/place-female-and-latino-identities-in-kali-fajardo-anstines-short-story-collection-sabrina-and-corina" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170351.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">87</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">3098</span> Egyptian and Irish Female Protagonists: A Comparative Study of Al-Hakim's Song of Death and Synge's Riders to the Sea</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Mohammed%20Ghaleb">Ahmed Mohammed Ghaleb</a>, <a href="https://publications.waset.org/abstracts/search?q=Ehab%20Saleh%20Alnuzaili"> Ehab Saleh Alnuzaili</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper attempts to generally examine Tawfiq Al-Hakim's Song of Death (1950) and John Millington Synge's Riders to the Sea (1904) by comparatively bringing the two plays under focus. Strikingly, the similarities between the two plays appear in the plot, picturization of the characters, tragic intensity, structural perfection, and the economy of language. Plot structure, albeit a simple one in both plays, is enriched by the playwrights' effective use of language, symbols, imagery, and tragic irony. Neither of the two plays has the traditional five-act structure; they are one-act plays. From a feminist point of view, the domination of female characters is observed in both plays. The female protagonists are the main focus of the two plays. Their brave characters and struggle are highly depicted. While Al-Hakim's protagonist is presented as a victim of tribal customs, Synge's protagonist is shown as a victim of nature. Both plays can be described as 'feminine tragedies' using the words of Oona Frwaley. Although the two plays appeared in totally different historical periods of time, both share considerable similarities, thematic as well as linguistic, which result in a concern to investigate them. The paper, basically, aims at asserting the commonalities between human beings and creating awareness of intercultural negotiations and connections. It attempts to bridge the cultural, intellectual, and social gap between Arab and Irish drama by exploring the common elements of the two plays. Thus, the paper presents a critical and comparative study of both plays highlighting the portrayal of the female protagonists. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=economy%20of%20language" title="economy of language">economy of language</a>, <a href="https://publications.waset.org/abstracts/search?q=imagery" title=" imagery"> imagery</a>, <a href="https://publications.waset.org/abstracts/search?q=protagonist" title=" protagonist"> protagonist</a>, <a href="https://publications.waset.org/abstracts/search?q=symbols" title=" symbols"> symbols</a>, <a href="https://publications.waset.org/abstracts/search?q=tragic%20intensity" title=" tragic intensity"> tragic intensity</a>, <a href="https://publications.waset.org/abstracts/search?q=tragic%20irony" title=" tragic irony"> tragic irony</a> </p> <a href="https://publications.waset.org/abstracts/120929/egyptian-and-irish-female-protagonists-a-comparative-study-of-al-hakims-song-of-death-and-synges-riders-to-the-sea" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120929.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">212</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">3097</span> A Relationship Extraction Method from Literary Fiction Considering Korean Linguistic Features</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hee-Jeong%20Ahn">Hee-Jeong Ahn</a>, <a href="https://publications.waset.org/abstracts/search?q=Kee-Won%20Kim"> Kee-Won Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Seung-Hoon%20Kim"> Seung-Hoon Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The knowledge of the relationship between characters can help readers to understand the overall story or plot of the literary fiction. In this paper, we present a method for extracting the specific relationship between characters from a Korean literary fiction. Generally, methods for extracting relationships between characters in text are statistical or computational methods based on the sentence distance between characters without considering Korean linguistic features. Furthermore, it is difficult to extract the relationship with direction from text, such as one-sided love, because they consider only the weight of relationship, without considering the direction of the relationship. Therefore, in order to identify specific relationships between characters, we propose a statistical method considering linguistic features, such as syntactic patterns and speech verbs in Korean. The result of our method is represented by a weighted directed graph of the relationship between the characters. Furthermore, we expect that proposed method could be applied to the relationship analysis between characters of other content like movie or TV drama. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=data%20mining" title="data mining">data mining</a>, <a href="https://publications.waset.org/abstracts/search?q=Korean%20linguistic%20feature" title=" Korean linguistic feature"> Korean linguistic feature</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20fiction" title=" literary fiction"> literary fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=relationship%20extraction" title=" relationship extraction"> relationship extraction</a> </p> <a href="https://publications.waset.org/abstracts/47126/a-relationship-extraction-method-from-literary-fiction-considering-korean-linguistic-features" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47126.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">381</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">3096</span> Innovative Pictogram Chinese Characters Representation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.%20H.%20Low">J. H. Low</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20H.%20Hew"> S. H. Hew</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20O.%20Wong"> C. O. Wong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes an innovative approach to represent the pictogram Chinese characters. The advantage of this representation is using an extraordinary to represent the pictogram Chinese character. This extraordinary representation is created accordingly to the original pictogram Chinese characters revolution. The purpose of this innovative creation is to assistant the learner learning Chinese as second language (SCL) in Chinese language learning specifically on memorize Chinese characters. Commonly, the SCL will give up and frustrate easily while memorize the Chinese characters by rote. So, our innovative representation is able to help on memorize the Chinese character by the help of visually storytelling. This innovative representation enhances the Chinese language learning experience of SCL. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20e-learning" title="Chinese e-learning">Chinese e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20Chinese%20character%20representation" title=" innovative Chinese character representation"> innovative Chinese character representation</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20management" title=" knowledge management"> knowledge management</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20learning" title=" language learning"> language learning</a> </p> <a href="https://publications.waset.org/abstracts/4346/innovative-pictogram-chinese-characters-representation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4346.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">487</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3095</span> Spatial Element Importance and Its Relation to Characters’ Emotions and Self Awareness in Michela Murgia’s Collection of Short Stories Tre Ciotole. Rituali per Un Anno DI Crisi</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nikica%20Mihaljevi%C4%87">Nikica Mihaljević</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Published in 2023, "Tre ciotole. Rituali per un anno di crisi" is a collection of short stories completely disconnected from one another in regard to topics and the representation of characters. However, these short stories complete and somehow continue each other in a particular way. The book happens to be Murgia's last book, as the author died a few months later after the book's publication and it appears as a kind of summary of all her previous literary works. Namely, in her previous publications, Murgia already stressed certain characters' particularities, such as solitude and alienation from others, which are at the center of attention in this literary work, too. What all the stories present in "Tre ciotole" have in common is the dealing with characters' identity and self-awareness through the challenges they confront and the way the characters live their emotions in relation to the surrounding space. Although the challenges seem similar, the spatial element around the characters is different, but it confirms each time that characters' emotions, and, consequently, their self-awareness, can be formed and built only through their connection and relation to the surrounding space. In that way, the reader creates an imaginary network of complex relations among characters in all the short stories, which gives him/her the opportunity to search for a way to break out of the usual patterns that tend to be repeated while characters focus on building self-awareness. The aim of the paper is to determine and analyze the role of spatial elements in the creation of characters' emotions and in the process of self-awareness. As the spatial element changes or gets transformed and/or substituted, in the same way, we notice the arise of the unconscious desire for self-harm in the characters, which damages their self-awareness. Namely, the characters face a crisis that they cannot control by inventing other types of crises that can be controlled. That happens to be their way of acting in order to find the way out of the identity crisis. Consequently, we expect that the results of the analysis point out the similarities in the short stories in characters' depiction as well as to show the extent to which the characters' identities depend on the surrounding space in each short story. In this way, the results will highlight the importance of spatial elements in characters' identity formation in Michela Murgia's short stories and also summarize the importance of the whole Murgia's literary opus. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Italian%20literature" title="Italian literature">Italian literature</a>, <a href="https://publications.waset.org/abstracts/search?q=short%20stories" title=" short stories"> short stories</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20element" title=" spatial element"> spatial element</a>, <a href="https://publications.waset.org/abstracts/search?q=emotions" title=" emotions"> emotions</a>, <a href="https://publications.waset.org/abstracts/search?q=characters" title=" characters"> characters</a> </p> <a href="https://publications.waset.org/abstracts/179155/spatial-element-importance-and-its-relation-to-characters-emotions-and-self-awareness-in-michela-murgias-collection-of-short-stories-tre-ciotole-rituali-per-un-anno-di-crisi" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179155.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">52</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">3094</span> Designing Cultural-Creative Products with the Six Categories of Hanzi (Chinese Character Classification)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pei-Jun%20Xue">Pei-Jun Xue</a>, <a href="https://publications.waset.org/abstracts/search?q=Ming-Yu%20Hsiao"> Ming-Yu Hsiao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Chinese characters, or hanzi, represent a process of simplifying three-dimensional signs into plane signifiers. From pictograms at the beginning to logograms today, a Han linguist thus classified them into six categories known as the six categories of Chinese characters. Design is a process of signification, and cultural-creative design is a process translating ideas into design with creativity upon culture. Aiming to investigate the process of cultural-creative design transforming cultural text into cultural signs, this study analyzed existing cultural-creative products with the six categories of Chinese characters by treating such products as representations which accurately communicate the designer’s ideas to users through the categorization, simplification, and interpretation of sign features. This is a two-phase pilot study on designing cultural-creative products with the six categories of Chinese characters. Phase I reviews the related literature on the theory of the six categories of Chinese characters investigated and concludes with the process and principles of character evolution. Phase II analyzes the design of existing cultural-creative products with the six categories of Chinese characters and explores the conceptualization of product design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=six%20categories%20of%20Chinese%20characters" title="six categories of Chinese characters">six categories of Chinese characters</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural-creative%20product%20design" title=" cultural-creative product design"> cultural-creative product design</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20signs" title=" cultural signs"> cultural signs</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20product" title=" cultural product"> cultural product</a> </p> <a href="https://publications.waset.org/abstracts/44868/designing-cultural-creative-products-with-the-six-categories-of-hanzi-chinese-character-classification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44868.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">341</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">3093</span> A Caged Bird Set Free: The Women Saviors in Fae Myenne Ng's Steer Toward Rock</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hei%20Yuen%20Pak">Hei Yuen Pak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Steer Toward Rock, Fae Myenne Ng’s second novel after the National Bestseller Bone, is superficially concluded as a story of pessimism, which underestimates the sophistication of Ng’s portrayal. It is often summarized as a “heartbreaking novel of unrequited love” or “a story of timeless and tragic”; yet, Ng’s novel conveys more than a mere sense of tragedy and heartbreak, but rather an overflowing warmth and optimism. Ng is complimented of “illuminating a part of U.S. history few are aware of”—the false identity established on the paper relationships. Nevertheless, toward the end of the novel, this falsity enlightens the male protagonist, Jack Moon Szeto, of the ultimate realization of the “truthfulness” to himself, with the escort of the female characters. This paper intends to investigate how Ng’s depiction subverts the traditional sex/gender system and also the patriarchal savior stereotype. This paper mainly examines the characterization of and the relations among the four major characters: Jack Moon Szeto, Joice Qwan, Veda Qwan, and Ilin Cheung. By deploying Kate Millett’s, Marilyn French’s, Mary Daly’s feminist theories, the first half of the essay elucidates the power relations between Jack and the three females Joice, Veda, and Ilin in terms of gender and sexuality. After analyzing the relations, Jack, this male caged bird, is set free by the epiphany derived from the three female characters, which is the pivot of the second half. In reference to Jean-Paul Sartre and Simone de Beauvoir’s existentialist perspectives, I argue how Jack is transformed from, in Satre’s term, being-for-others to being-for-itself. Hence, the caged bird is free by the women saviors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fae%20Myenne%20Ng" title="Fae Myenne Ng">Fae Myenne Ng</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20sexuality" title=" gender and sexuality"> gender and sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20relations" title=" power relations"> power relations</a> </p> <a href="https://publications.waset.org/abstracts/14840/a-caged-bird-set-free-the-women-saviors-in-fae-myenne-ngs-steer-toward-rock" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14840.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">572</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">3092</span> An Assessment of Female Representation in Philippine Cinema in Comparison to American Cinema (1975 to 2020)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Julia%20Binay">Amanda Julia Binay</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Elise%20Suarez"> Patricia Elise Suarez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Female representation in media is an important subject in the discussion of gender equality, especially in impactful and influential media like film. As the Filipino film industry continues to grow and evolve, the need for analysis on Filipino female representation on screen is imperative. Additionally, there has been limited research made on female representation in the Philippine film scene. Thus, the paper aims to analyze the presence and evolution of female representation in Philippine cinema and compare the findings with that of American films to see how Filipino filmmakers hold their own against the standards of international movements that call for more and better female representation, especially in Hollywood. The participants selected were Filipino and American films released within the years 1975 to 2020 in five (5) year intervals. Twenty (20) critically acclaimed and highest-grossing Filipino films and twenty (20) critically acclaimed and highest-grossing Hollywood films were then subject to the Bechdel and Peirce tests to obtain statistical measures of their female representation. The findings of the study reveal that the presence of female representation in Philippine film history has been consistent and has continued to grow and evolve throughout the years, with strong female leads with vibrant characteristics and diverse stories. However, analysis of female representation regarding American films has shown an extreme lack thereof with more misogynistic, sexist, and limiting ideals. Thus, the study concludes that the state of female representation in Philippine cinema and film industry holds its own when compared to American cinema and film industry and even outperforms it in many aspects of female representation, such as consistent inclusion and depiction of multi-dimensional female leads and female relationships. Hence, the study implies that women’s consistent presence in Philippine cinema mirrors Filipino women’s prominent role in Philippine society and that American cinema must continue to make efforts to change their portrayals of female characters, leads, and relationships to make them more grounded in reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20representation" title="female representation">female representation</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=philippine%20cinema" title=" philippine cinema"> philippine cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=American%20cinema" title=" American cinema"> American cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=bechdel%20test" title=" bechdel test"> bechdel test</a>, <a href="https://publications.waset.org/abstracts/search?q=peirce%20test" title=" peirce test"> peirce test</a>, <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title=" comparative analysis"> comparative analysis</a> </p> <a href="https://publications.waset.org/abstracts/144689/an-assessment-of-female-representation-in-philippine-cinema-in-comparison-to-american-cinema-1975-to-2020" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144689.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">381</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">3091</span> Silencing the Protagonist: Gender and Rape Depiction in Pakistani Dramas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saman%20R.%20Khan">Saman R. Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Najma%20Sadiq"> Najma Sadiq</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Silencing of opinions is an important aspect of Spiral of Silence theory however its applicability in rape-themed dramas requires investigation. This study focuses on the portrayal of female rape victim protagonists in Pakistani dramas and the factors influencing their behavior after rape. A quantitative content analysis was conducted on two prime-time dramas which directly dealt with female rape victims. Results indicate that the female protagonists who faced rape are shown as silent and submissive characters who are unable to communicate about their ordeal due to fear of social isolation. These findings lend support to the Spiral of Silence theory and indicate that the theory’s basic elements (inability to express opinions and fear of social isolation) exist in these TV dramas. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender%20stereotyping" title="gender stereotyping">gender stereotyping</a>, <a href="https://publications.waset.org/abstracts/search?q=rape%20victims" title=" rape victims"> rape victims</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20spiral%20of%20silence" title=" the spiral of silence"> the spiral of silence</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20dramas" title=" TV dramas"> TV dramas</a> </p> <a href="https://publications.waset.org/abstracts/99616/silencing-the-protagonist-gender-and-rape-depiction-in-pakistani-dramas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99616.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">169</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">3090</span> Traits and Dilemma: Feminism and Multiple Demands in Young Chinese Female-Directed Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deng%20Qiaoshan">Deng Qiaoshan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of feminism in the global film industry, feminist expressions in Chinese films have also evolved, reflecting societal focus on gender issues. This article focuses on young Chinese female directors such as Yang Lina, Teng Congcong, and Yang Mingming. Their films now present richer female perspectives and consciously incorporate unique female life experiences. They highlight women's real-life struggles, portraying ’struggling’ female identities—characters facing professional failures and desire identity issues, ultimately returning to family roles. These films commonly explore the ‘mother-daughter relationship’, with some using genre storytelling for commercial appeal and others deconstructing the ‘myth of motherhood’ to reflect reality, rewriting traditional maternal roles. The ‘struggling’ female identity in these directors' films shows an aesthetic of ‘pseudo-reality’, blending realistic situations with poetic, lyrical elements, reflecting their creative traits and internal conflicts. These contradictions are closely related to the unique creative context of Chinese cinema in which they operate. Emerging under China's strict film censorship system, film industrialization, consumerist culture, and internet environment, new-generation directors face multiple demands. How to ‘survive’ amidst complex commercial requirements while creating films with a clear feminist consciousness is the fundamental dilemma faced by young Chinese female directors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20directors" title="female directors">female directors</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20film" title=" feminism film"> feminism film</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20dilemma" title=" female dilemma"> female dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20censorship%20system" title=" film censorship system"> film censorship system</a> </p> <a href="https://publications.waset.org/abstracts/187326/traits-and-dilemma-feminism-and-multiple-demands-in-young-chinese-female-directed-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187326.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">42</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">3089</span> Lesbian Stereotype Representation in Cinema in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hasan%20G%C3%BCrkan">Hasan Gürkan</a>, <a href="https://publications.waset.org/abstracts/search?q=Rengin%20Ozan"> Rengin Ozan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema, as a popular mass media tool, affects the general perception of the society against sexual identity. By establishing on interaction relationship with cinema and social reality, the study also tries to answer what the importance of lesbian identity in social life in films in Turkey is. This article focus on representing the description of the women characters who call their selves lesbian in Turkey cinema. The study tries to answer these three questions: First, how the lesbian characters are represented in films in Turkey? Second, what is the reality of the lesbian sexual identity in the films? Third, what are the differences and similarities between the lesbian characters in films in Turkey before 2000s and after 2000s? The films are analysed by the sociological film interpretation in this study. When comparing the films before 2000 and after 2000, it is possible to say that there have been no lesbian characters in many films. Especially almost all of the films (Haremde Dört Kadın, Ver Elini İstanbul, Dul Bir Kadın, Gramofon Avrat, Lola and Billidikid), during 1960s, just threw looks indirect the lesbian sex identity. Just in the films Düş Gezginleri, İki Genç Kız and Nar, the women character (also called them as lesbian) are the leading role and the plot of the films is progressing over these characters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema%20in%20Turkey" title="cinema in Turkey">cinema in Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=lesbian%20identity" title=" lesbian identity"> lesbian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a> </p> <a href="https://publications.waset.org/abstracts/41877/lesbian-stereotype-representation-in-cinema-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41877.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">339</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3088</span> Gendered Experiences of the Urban Space in India as Portrayed by Hindi Cinema: A Quantitative Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hugo%20Ribadeau%20Dumas">Hugo Ribadeau Dumas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In India, cities represent intense battlefields where patriarchal norms are simultaneously defied and reinforced. While Indian metropolises have witnessed numerous initiatives where women boldly claimed their right to the city, urban spaces still remain disproportionately unfriendly to female city-dwellers. As a result, the presence of strees (women, in Hindi) in the streets remains a socially and politically potent phenomenon. This paper explores how, in India, women engage with the city as compared to men. Borrowing analytical tools from urban geography, it uses Hindi cinema as a medium to map the extent to which activities, attitudes and experiences in urban spaces are highly gendered. The sample consists of 30 movies, both mainstream and independent, which were released between 2010 and 2020, were set in an urban environment and comprised at least one pivotal female character. The paper adopts a quantitative approach, consisting of the scrutiny of close to 3,000 minutes of footage, the labeling and time count of every scene, and the computation of regressions to identify statistical relationships between characters and the way they navigate the city. According to the analysis, female characters spend half less time in the public space than their male counterparts. When they do step out, women do it mostly for utilitarian reasons; inversely, in private spaces or in pseudo-public commercial places – like malls – they indulge in fun activities. For male characters, the pattern is the exact opposite: fun takes place in public and serious work in private. The characters’ attitudes in the streets are also greatly gendered: men spend a significant amount of time immobile, loitering, while women are usually on the move, displaying some sense of purpose. Likewise, body language and emotional expressiveness betray differentiated gender scripts: while women wander in the streets either smiling – in a charming role – or with a hostile face – in a defensive mode – men are more likely to adopt neutral facial expressions. These trends were observed across all movies, although some nuances were identified depending on the character's age group, social background, and city, highlighting that the urban experience is not the same for all women. The empirical pieces of evidence presented in this study are helpful to reflect on the meaning of public space in the context of contemporary Indian cities. The paper ends with a discussion on the link between universal access to public spaces and women's empowerment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cities" title=" Indian cities"> Indian cities</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20space" title=" public space"> public space</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20empowerment" title=" women empowerment"> women empowerment</a> </p> <a href="https://publications.waset.org/abstracts/136701/gendered-experiences-of-the-urban-space-in-india-as-portrayed-by-hindi-cinema-a-quantitative-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136701.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">156</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">3087</span> Using Scale Invariant Feature Transform Features to Recognize Characters in Natural Scene Images </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Belaynesh%20Chekol">Belaynesh Chekol</a>, <a href="https://publications.waset.org/abstracts/search?q=Numan%20%C3%87elebi"> Numan Çelebi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of this work is to recognize individual characters extracted from natural scene images using scale invariant feature transform (SIFT) features as an input to K-nearest neighbor (KNN); a classification learner algorithm. For this task, 1,068 and 78 images of English alphabet characters taken from Chars74k data set is used to train and test the classifier respectively. For each character image, We have generated describing features by using SIFT algorithm. This set of features is fed to the learner so that it can recognize and label new images of English characters. Two types of KNN (fine KNN and weighted KNN) were trained and the resulted classification accuracy is 56.9% and 56.5% respectively. The training time taken was the same for both fine and weighted KNN. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20recognition" title="character recognition">character recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=KNN" title=" KNN"> KNN</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20scene%20image" title=" natural scene image"> natural scene image</a>, <a href="https://publications.waset.org/abstracts/search?q=SIFT" title=" SIFT"> SIFT</a> </p> <a href="https://publications.waset.org/abstracts/58580/using-scale-invariant-feature-transform-features-to-recognize-characters-in-natural-scene-images" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58580.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">281</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">3086</span> Recognition of Tifinagh Characters with Missing Parts Using Neural Network</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=El%20Mahdi%20Barrah">El Mahdi Barrah</a>, <a href="https://publications.waset.org/abstracts/search?q=Said%20Safi"> Said Safi</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdessamad%20Malaoui"> Abdessamad Malaoui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we present an algorithm for reconstruction from incomplete 2D scans for tifinagh characters. This algorithm is based on using correlation between the lost block and its neighbors. This system proposed contains three main parts: pre-processing, features extraction and recognition. In the first step, we construct a database of tifinagh characters. In the second step, we will apply “shape analysis algorithm”. In classification part, we will use Neural Network. The simulation results demonstrate that the proposed method give good results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tifinagh%20character%20recognition" title="Tifinagh character recognition">Tifinagh character recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20networks" title=" neural networks"> neural networks</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20cost%20computation" title=" local cost computation"> local cost computation</a>, <a href="https://publications.waset.org/abstracts/search?q=ANN" title=" ANN"> ANN</a> </p> <a href="https://publications.waset.org/abstracts/45178/recognition-of-tifinagh-characters-with-missing-parts-using-neural-network" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45178.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">334</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">3085</span> A Recognition Method of Ancient Yi Script Based on Deep Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shanxiong%20Chen">Shanxiong Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Xu%20Han"> Xu Han</a>, <a href="https://publications.waset.org/abstracts/search?q=Xiaolong%20Wang"> Xiaolong Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui%20Ma"> Hui Ma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Yi is an ethnic group mainly living in mainland China, with its own spoken and written language systems, after development of thousands of years. Ancient Yi is one of the six ancient languages in the world, which keeps a record of the history of the Yi people and offers documents valuable for research into human civilization. Recognition of the characters in ancient Yi helps to transform the documents into an electronic form, making their storage and spreading convenient. Due to historical and regional limitations, research on recognition of ancient characters is still inadequate. Thus, deep learning technology was applied to the recognition of such characters. Five models were developed on the basis of the four-layer convolutional neural network (CNN). Alpha-Beta divergence was taken as a penalty term to re-encode output neurons of the five models. Two fully connected layers fulfilled the compression of the features. Finally, at the softmax layer, the orthographic features of ancient Yi characters were re-evaluated, their probability distributions were obtained, and characters with features of the highest probability were recognized. Tests conducted show that the method has achieved higher precision compared with the traditional CNN model for handwriting recognition of the ancient Yi. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=recognition" title="recognition">recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=CNN" title=" CNN"> CNN</a>, <a href="https://publications.waset.org/abstracts/search?q=Yi%20character" title=" Yi character"> Yi character</a>, <a href="https://publications.waset.org/abstracts/search?q=divergence" title=" divergence "> divergence </a> </p> <a href="https://publications.waset.org/abstracts/103578/a-recognition-method-of-ancient-yi-script-based-on-deep-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103578.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">165</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">3084</span> Arabic Handwriting Recognition Using Local Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammed%20Arif">Mohammed Arif</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdessalam%20Kifouche"> Abdessalam Kifouche</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Optical character recognition (OCR) has a main role in the present time. It's capable to solve many serious problems and simplify human activities. The OCR yields to 70's, since many solutions has been proposed, but unfortunately, it was supportive to nothing but Latin languages. This work proposes a system of recognition of an off-line Arabic handwriting. This system is based on a structural segmentation method and uses support vector machines (SVM) in the classification phase. We have presented a state of art of the characters segmentation methods, after that a view of the OCR area, also we will address the normalization problems we went through. After a comparison between the Arabic handwritten characters & the segmentation methods, we had introduced a contribution through a segmentation algorithm. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=OCR" title="OCR">OCR</a>, <a href="https://publications.waset.org/abstracts/search?q=segmentation" title=" segmentation"> segmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=Arabic%20characters" title=" Arabic characters"> Arabic characters</a>, <a href="https://publications.waset.org/abstracts/search?q=PAW" title=" PAW"> PAW</a>, <a href="https://publications.waset.org/abstracts/search?q=post-processing" title=" post-processing"> post-processing</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a> </p> <a href="https://publications.waset.org/abstracts/183495/arabic-handwriting-recognition-using-local-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183495.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3083</span> Existential Absurdity, Alienation and Death in Charles Forsman’s The End of the Fxxxing World, I Am Not Okay With This, and Slasher </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Renukha%20Devi%20Anandan">Renukha Devi Anandan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Charles Forsman’s The End of The Fxxxing World, I Am Not Okay With This, and Slasher invariably deals with existential themes. They reflect the perplexed situation of the characters torn between the search for existence and the constraints of human conditions that impede them from such realization, ensuing a dilemma deeply-rooted in absurdity and alienation. These characters are social misfits who fail to fashion their existence and develop harmoniously. Therefore, the present paper adopts an Existential approach to examine the vignettes of alienation and absurdity vis-à-vis the characters’ speech, actions, and thoughts. Furthermore, this paper explores the role of death either as a self-destructive behavior or the eternal freedom of man in graphic novels. Findings portrayed how the characters’ absurd existence surrounded by the void, would eventually develop into death. Finally, the study revealed that Forsman’s distinctive serial illustration not only unveiled the predicaments of the characters through their hard-boiled smokescreens in the 21st-century social paradigm but also established graphic novels as part and parcel of a literary genre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=existentialism" title="existentialism">existentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=absurdity" title=" absurdity"> absurdity</a>, <a href="https://publications.waset.org/abstracts/search?q=alienation" title=" alienation"> alienation</a>, <a href="https://publications.waset.org/abstracts/search?q=death" title=" death"> death</a>, <a href="https://publications.waset.org/abstracts/search?q=self-destruction" title=" self-destruction"> self-destruction</a>, <a href="https://publications.waset.org/abstracts/search?q=eternal%20freedom" title=" eternal freedom "> eternal freedom </a> </p> <a href="https://publications.waset.org/abstracts/128617/existential-absurdity-alienation-and-death-in-charles-forsmans-the-end-of-the-fxxxing-world-i-am-not-okay-with-this-and-slasher" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128617.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">204</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=female%20characters&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=female%20characters&page=3">3</a></li> <li class="page-item"><a class="page-link" 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