The Changing Dynamics between the Characters (2Sam 14) (original) (raw)
Related papers
alternative versions of history.These novels can be viewed as double voiced discourses where dominant voices of history are refracted through subversion and provide space to other voices that have been suppressed. The texts are analyzed with respect to their use of different voices through the novelists " emphasis on how history is a human construct and how they highlight the silenced histories of the marginalized groups. I argue that it is in these works of fiction that much of the suppressed history of marginalized people has been recorded; untold stories are told from the experiences of those who were involved in events, rather than from the objective perspective conjectured by the historian. The hypothesis of this research project is that novels also offer crucial insights in understanding historyand it is assumed that a literary text is coterminous with history, and it is intertextual.An analysis of these literary texts allows a scope for rethinking and re-reading different versions of history.In documenting the evidences in this thesis, I have followedthe MLA style sheet of the seventh edition, 2009. To support my analysis Ihave referred to the views of scholars who have worked on the partition such as RanjitGuha, Pandey, Jill Didur, ParthChatterjee, MushirulHasan, Veena Das, RituMenon, KamlaBhasin, Joe Cleary and others to argue how these novels destabilize the hegemony of mainstream and official narratives of the catastrophic event of the partition.The study is divided into six chapters. Chapter I.Introduction: Representation of the partition, history and the Novel This chapter serves as an introduction to the question of representation of the partition event.Literature is an important source of history as accounts of creative writings are testimonies of the marginal voices and memories. Among the various literary forms, the connection of the novel with history has been the closest. However, there has been constant evolution in the nature and scope of the novelist " s engagement with history and vice versa too. The novel established its base by imitating history: it progressed by making massive use of history, incorporating within the fictional frame a large number of social, political and
Character and Thematic Analysis in Emem Isong's <i>Reloaded</i>
American journal of art and design, 2018
The theatre is a medium for social criticism. Most playwrights/screenwriters write their plays for the purpose of impacting moral lessons in the society or exposing the ills and imbalances of a society. From its earlier beginnings, character and themes among other elements combine to set a play/film in proper perspective with the cultural milieu of the play/films existence. A study of Emem Isong's films, 'Reloaded' invites the audience to reflect on society in order to capture the meaning and essence of life. This study investigates the challenges of character portrayal and the issue of themes in the video film. Its ultimate aim is to help would-be artist who would venture into screenwriting to write stories not just for the purpose of entertaining, but to write on pressing issues in the society that needs to be corrected. Data for this study was collected through continuous watching of the movie, script and character analysis, relevant journals and discussion with people. It is believed that this work will be of immense benefit for would-be screenwriters/playwrights.
Communication & Society, 2023
In a climate of increasing social and political polarisation, there is much interest in dialogue and bridging differences. This article investigates the dramatisation of dialogic conflict resolution, examining how the psychological science of bridging differences can be utilised to create realistic and emotionally engaging narratives that highlight the transformative impact of dialogue on character development and relational dynamics. Relational conflicts have long been recognised as possible catalysts for character transformation, and complex narratives (Mittell, 2015) are particularly appropriate for a nuanced representation of characters' psychological experiences throughout the process. This study draws upon extensive psychological and communication research on bridging differences compiled by Shigeoka et al. (2020) and UC Berkeley's Greater Good Science Center (2021). It reorganises this research into a horizontal timeline of behaviours, highlighting their practical application during the conflict resolution process. It then makes a cognitive poetics analysis of how these behaviours may be observed in a case study of relational conflict from the complex television series This is Us (NBC, 2016-2022). By observing the impact these behaviours have on the transformation of characters, the study explores how credible dialogic relational conflicts can lead to verisimilar character transformation on screen. In addition, it considers how an artistic interpretation of the science of bridging differences can contribute to our understanding of dialogue in practice.
Purpose -Two claims are made about play that bears on managing change in organizations. First, play is a creative dynamic of human community; and in particular, it is the form taken by love at the boundary of fantasy and reality. Second, play is known, not by analysis via the mind and reason, but by intuition via the body and feeling. To manage change as play is to call upon the possibilities of adaptation and development that lie at the creative edge of love. Design/methodology/approach -The arguments of the paper are not strictly rational (deductive) or empirical (inductive) but are based upon an "abductive" reading of the literatures on play and managing change.
Character and Thematic Analysis in Emem Isong's Reloaded
American Journal of Art and Design, 2018
The theatre is a medium for social criticism. Most playwrights/screenwriters write their plays for the purpose of impacting moral lessons in the society or exposing the ills and imbalances of a society. From its earlier beginnings, character and themes among other elements combine to set a play/film in proper perspective with the cultural milieu of the play/films existence. A study of Emem Isong's films, 'Reloaded' invites the audience to reflect on society in order to capture the meaning and essence of life. This study investigates the challenges of character portrayal and the issue of themes in the video film. Its ultimate aim is to help would-be artist who would venture into screenwriting to write stories not just for the purpose of entertaining, but to write on pressing issues in the society that needs to be corrected. Data for this study was collected through continuous watching of the movie, script and character analysis, relevant journals and discussion with people. It is believed that this work will be of immense benefit for would-be screenwriters/playwrights.
Inner dialectic conflict in characters and narratives
Analyses of cultural productions: Papers of 30th Conference of Psyart Porto, 2013, 2014
Based on Vittorio F. Guidano’s analysis of personal meaning organizations, we propose that each type of psychological structure is underpinned by certain inner dialectic conflict. This psychological approach seems useful as a theoretical guideline to analyze and create characters and narratives. The psychological structure (an obsessive-compulsive one) can be expressed through the main character (and his backstory) as in the movie Kinsey (Condon). It can also be depicted in the narrative, which becomes an arena of projected inner dialectic conflicts on the realm of that same psychological structure (as in David Fincher’s The Game). “But it is the same with man as with the tree. The more he seeketh to rise into the height and light, the more vigorously do his roots struggle earthward, downward, into the dark and deep – into the evil.” (Nietzsche 48). The villain emerges when we glorify ourselves.
Conflict Resolution and Ethnicity-updated, 1994
Change and conflict are two faces of one social process that never stops moving and evolving. Change causes conflict because it produces winners and losers, and conflict leads to change that produces winners and losers. Since neither conflict nor change is avoidable, the management of all societal processes must try to maximize the number of winners and minimize the number of losers of every round of change and conflict. All people in every country are social actors and products of different life experiences, historical group memories, religious beliefs, varied cultures, and environmental settings. People normally face many sets of social, economic, and political problems and opportunities, they also function according to different values, traditions, and interests. Consequently, they tend to have varied at times contradictory attitudes, worldviews, and perceptions, and to nurture different, at times conflicting sociopolitical, socioeconomic, and sociocultural goals and expectations. On the other hand, diversified human interests, largely incompatible religious beliefs, clashing cultural values, and competing individual and societal goals are causes of conflict and forces of change. Individuals, groups, organizations, societies, and states are faced daily with countless issues to consider, decisions to make, and actions to take; they also have goals to pursue, problems to solve, situations to manage, unforeseen circumstances, and challenges to prepare for. But for such tasks to be accomplished without delay, peoples and the institutions through which they function must continuously change and accept change as inevitable. All decisions and actions that people take, regardless of their nature, timing, and possible consequences, are based on assumptions regarding the self, the other, the environment, and the existing states of sociopolitical and socioeconomic affairs. In determining their moves, people usually try to alter certain attitudes, build and rebuild relationships with other groups and nations; sometimes they try to force a reversal of an action taken by other people to restore the status quo. In so doing, however, people seek to establish and maintain a stable balance in their relationship vis-à-vis the other that could be a group, a cultural minority, a
The Logical Foresight-Journal for Logic and Science, 2022
The movie mother! is a psychological horror movie, written and directed in 2017 by Darren Aronofsky. The plot of the movie revolves around a couple living in an isolated house, as their serene lives become thrown into disarray by a series of bizarre events started by the arrival of a mysterious couple and many other strange guests. This movie is known for its representation of biblical symbolism, with underlying warnings of the inevitable self-destruction of human race through their historically repetitive torment of Mother Earth.The main topic of this article is going to be an analysis of the symbolic milieu of the movie, with special attention to the depiction of power dynamics of the represented (divine) feminine and masculine, as well as power relations of the characters, in general. In that process, we hope to understand the stages of their transformation, with regards to the question of the nature of their transformation-was it social or structural? Interpretation of the transformation and its nature, we also contemplate the nature of recognized process of othering in the movie, that relies on the root of the recognized power relations? All of these questions are explored through interpretation of symbolic communication, in which the architectural setting acts as a character "anchor" and a sustenance for its development, as well as the indicator and medium of its transformation.