The Main goal of this thesis is the comparison of fates of the Jewish heroes in the Second world war. I will compare five selected proses written by Arnost Lustig. My focus will be on the fates of the Jewish women during the second world war and how this extreme experience affected their characters and moral believes. The source of the thesis will be the listed primary literature, which was selected to show the uniqueness and individuality of so strong experience, which the second world war and holocaust definitely was. Concurrently, it demonstrates the fact that under influence of their shared fate, are the heroes of the stories in many ways very similar. I will also focus on the questions regarding the dignity and morality and how the Jewish woman deals with their lost of personal and life assurances.

La estructura visual es un elemento fundamental que un realizador tiene que tomar en cuenta al momento de construir el producto cinematográfico. En tal sentido, la estructura visual; que se conforma por componentes visuales básicos, entre los que están el espacio, la línea, la forma, el tono y el color; ha dado definitivamente personalidad y estilo a muchas películas a partir del criterio que el realizador, como Wes Anderson, maneja previamente con un estilo definido. Esta investigación analiza precisamente los componentes visuales que conforman la estructura visual con los que los personajes de "Fantastic Mr. Fox"(2009) y "Isle of Dogs"(2018) van generando una relación empática con el espectador. Para lo cual se realizó un análisis de los personajes principales de estas películas, como también de los aspectos visuales, en base a 27 frames de estos filmes, en los cuales se halló que los personajes tienen conflictos originados por sí mismos al carecer completamente del conocimiento de sus propias virtudes y defectos. De este modo, al relacionarse con su entorno, buscan la aceptación en otros personajes para sentir que alguien más los considera importantes. Asimismo, se identificó que visualmente, en la mayoría de casos, se logra reafirmar los sentimientos y las características que definen a los personajes en base a los componentes visuales que plantea Anderson. / The visual structure is a fundamental element that a filmmaker has to considerate when is building the film product. In this sense, the visual structure; which consists of basic visual components, among which are the space, the line, the shape, the tone and the color; has definitely given personality and style to many films based on the director’s criteria, like Wes Anderson, previously handles with a definite style. This research analyzes precisely the visual components that make up the visual structure with which the characters of "Fantastic Mr. Fox" (2009) and "Isle of Dogs" (2018) are generating an empathetic relationship with the spectator. For this purpose, an analysis was made of the main characters of these films, as well as the visual aspects, based on 27 frames of these films, in which it was found that the characters have conflicts originated by themselves completely a lack of knowledge of their own virtues and defects. In this way, by relating to their environment, they seek acceptance from other characters to feel that they are considered important by someone else. It was also identified that visually, in most cases, one manages to reassert the feelings and characteristics that define the characters based on the visual components that Anderson poses. / Trabajo de investigación

The aim of this thesis was to deepen our understanding of how audiences represent male and female dark fictional characters (DFCs) by exploring how Harry Potter fans discuss four of these characters on Reddit. Drawing on affective disposition theory as a guiding framework as well as previous investigations of gender representation and online fan cultures, I collected and analyzed 117 posts (containing 9,693 comments) about four DFCs from the Harry Potter franchise. I chose two male DFCs (Lord Voldemort and Severus Snape) and two female ones (Bellatrix Lestrange and Dolores Umbridge) for my investigation. The data were analyzed using a productive hermeneutics approach. Fans’ representation of these characters intersected with the extent which the characters’ fictionality was salient, how they were visualized, the online culture of Reddit, and fans’ presumed identification with these characters. Bellatrix was defined by her portrayal by Helena Bonham Carter in the films and her combination of valuable masculine and feminine traits. Moreover, she was a figure of pure fantasy, which allowed fans to love her depravity. Umbridge and Snape, by contrast, were hated for intruding into the fantasy that Harry Potter offered, reminding fans of bullying and overly controlling teachers. Snape, however, was redeemed by his complexity and embodiment of geek masculinity. Voldemort was valued for his intellect and power but also criticized as a peer failing to rise to his intellectual potential; fans at turns identified with and undercut him through humor. Taken together, the results indicate a need to qualitatively explore how DFCs are received by audiences, as it can add further nuance to our understanding of how morality and gender influence media consumption.

A pollen-restorer sugarbeet inbred, developed by four generations of selection of highly fertile plants from a CMS X table beet cross, was studied to determine if a change from sterile to fertile cytoplasm had occurred. Data showed that the fertility expressed by the restorer inbred was the result of genetic factors and not cytoplasmic reversion. Linkage tests with the Rf gene showed independence of the YRB group, m and vi4. A yellow-loaf mutant was inherited as a simple recessive factor. A partial pollen-restorer character, found in the yellow-leaf material, was inherited as a single dominant gene. The restorer factor was independent of yl and m, while the yl gene showed independence of m and B.

[ES] El título y subtítulo del presente trabajo resume y refleja el contenido de la labor de investigación y catalogación realizada, a partir del material disponible en el taller de Tipografía de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia. La tipografía es la principal protagonista del trabajo, siendo los caracteres tipográficos los elementos más relevantes. Con los mismos se ha editado un catálogo para un mayor y mejor conocimiento de las características de cada familia de tipos móviles, ello podrá ayudar a estudiantes e investigadores a conocer e identificar la tipografía utilizada en la impresión de múltiples textos. Al ser un material procedente de imprentas de Valencia y poblaciones de alrededor, permitirá conocer un poco más la historia de la sociedad y el patrimonio de un periodo importante del pasado siglo XX. Partiendo de la metodología de investigación desde la práctica artística en los Libros de Artista, hemos pretendido alcanzar un mayor conocimiento de los tipos empleados utilizando la tipografía de forma plástica para conseguir un gran libro de artista, en el que se refleja una interpretación personal de todas las familias de caracteres tipográficos disponibles y catalogados en el taller de la mencionada facultad de Bellas Artes, al igual que proseguir con la edición de otros ejemplares de libros, continuando de esta forma la actividad iniciada en la Licenciatura y posteriormente en el Máster de Producción Artística. / [CA] El títol i subtítol del present treball resumeix i reflecteix el contingut de la labor d'investigació i catalogació realitzada, a partir del material disponible en el taller de Tipografia de la Facultat de Belles Arts de la Universitat Politècnica de València. La tipografia és la principal protagonista del treball, sent els caràcters tipogràfics els elements més rellevants. Amb els mateixos s'ha editat un catàleg per a un major i millor coneixement de les característiques de cada família de tipus mòbils, això podrà ajudar estudiants i investigadors a conéixer i identificar la tipografia utilitzada en la impressió de múltiples textos. A l'ésser un material procedent d'impremtes de València i poblacions de voltant, permetrà conéixer una mica més la història de la societat i el patrimoni d'un període important del passat segle XX. Partint de la metodologia d'investigació des de la pràctica artística en els Llibres d'Artista, hem pretés aconseguir un major coneixement dels tipus emprats utilitzant la tipografia de manera plàstica per a aconseguir un gran llibre d'artista, en el qual es reflecteix una interpretació personal de totes les famílies de caràcters tipogràfics disponibles i catalogats en el taller de l'esmentada facultat de Belles Arts, igual que prosseguir amb l'edició d'altres exemplars de llibres, continuant d'aquesta manera l'activitat iniciada en la Llicenciatura i posteriorment en el Màster de Producció Artística. / [EN] The title and subtitle of this work summarizes and reflects the content of the research and cataloguing work carried out, based on the material available in the Typography workshop of the Faculty of Fine Arts of the Polytechnic University of Valencia. Typography is the main protagonist of the work, with typographical characters being the most relevant elements. With them a catalogue has been published for a greater and better knowledge of the characteristics of each family of mobile types, this will help students and researchers to know and identify the typography used in the printing of multiple texts. Being a material from printing presses in Valencia and surrounding populations, it will allow you to learn a little more about the history of society and the heritage of an important period of the last 20 th century. Based on the research methodology from artistic practice in the Artist's Books, we have sought to achieve a greater knowledge of the types used using typography in plastic form to obtain a large artist's book, which reflects a personal interpretation of all the families of typographical characters available and catalogued in the workshop of the aforementioned faculty of Fine Arts , as well as continuing with the edition of other copies of books, continuing in this way the activity initiated in the undergraduate degree and later in the Master's Degree in Artistic Production. / Ferré Ferri, E. (2021). Tipos anónimos. Palabras vivas. Estudio e inventario de tipos móviles de imprenta en los talleres de la Facultad de Bellas Artes de Valencia. Incorporación de la Tipografía al Libro de Artista. Una aportación personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172176 / TESIS

The purpose of this study is to illustrate the power image of Henry James's female protagonists through a Readers Theatre adaptation of his novels, Daisy Miller, The Wings of the Dove, and The Portrait of a Lady. Chapter I includes an introduction and defines the purpose of the thesis. Chapter II briefly examines biographical information on James. Chapter III includes the analysis of the three selected novels in relation to preparation of a performance based script for Readers Theatre. In the Appendix is the Readers Theatre script with the inclusive transition and introductory material. The illustration of a typical Jamesian woman reveals a philosophic view of the human possibilities in freedom, power, and the destructive elements that limit an independent spirit.

No description available.

Believable Non-Player Characters (NPCs) help motivate player engagement with narrative-driven games. An important aspect of believable characters is their contextually-relevant reactions to changing situations, which emotion often drives in humans. Therefore, giving NPCs "emotion" should enhance their believability. For adoption in industry, it is important to create processes for developing tools to build NPCs "with emotion" that fit with current development practices. Psychological validity—the grounding in affective science—is a necessary quality for plausible emotion-driven NPC behaviours. Computational Models of Emotion (CMEs) are one solution because they use at least one affective theory/model in their design. However, CME development tends to be insufficiently documented such that its processes seem unsystematic and poorly defined. This makes it difficult to reuse a CME’s components, extend or scale them, or compare it to other CMEs. This work draws from software engineering to propose three methods for acknowledging and limiting subjectivity in CME development to improve their reusability, maintainability, and verifiability: a systematic, document analysis-based methodology for choosing a CME’s underlying affective theories/models using its high-level design goals and design scope, which critically influence a CME’s functional requirements; an approach for transforming natural language descriptions of affective theories into a type-based formal model using an intermediate, second natural language description refining the original descriptions and showing where and what assumptions informed the formalization; and a literary character analysis-based methodology for developing acceptance test cases with known believable characters from professionally-crafted stories that do not rely on specific CME designs. Development of EMgine, a game development CME for generating NPC emotions, shows these methods in practice. / Dissertation / Doctor of Philosophy (PhD) / Video games can deeply engage players using characters that appear to have emotionally-driven behaviours. One way that developers encode and carry knowledge between projects is by creating development tools, allowing them to focus on how they use that knowledge and create new knowledge. This work draws from software engineering to propose three methods for creating development tools for game characters “with emotion”: a process for analyzing academic emotion literature so that the tool’s functions are plausible with respect to real-life emotion; a process for translating academic emotion literature into mathematical notation; and a process for creating tests to evaluate these kinds of development tools using narrative characters. The development of an example tool for creating game characters "with emotion", EMgine, demonstrates these methods and serves as an example of good development practices.

No description available.

No description available.