The aim of this study is to compare characters in classical and contemporary japanese storytelling rakugo. Classical rakugo presents cultural tastes of merchant class in the Edo period (1600-1867) while the pattern of storytellers attending lords turned to performance in public and brought several amusing characters to idealize the medieval or rather premodern world. Contemporary rakugo carries on this popular tradition spontaneously with great expectations for its future appearance. As society phenomenons effect the appearance of rakugo characters, it is possible to observe the difference between this representation of life in community in past and nowadays. To compare classical and contemporary rakugo characters I analyzed them first according to their or storyteller's utterances and defined them as literary types.

This research aimed to investigate game developers' preferences and graphical differences between Chinese and Western female game characters. Parts of the survey were conducted in China and in cooperation with Game Hub Scandinavia (2015). For this research, an image analysis and two models were made. The image analysis analyzed common elements that exist between different female characters from Chinese and Western game toplists. One model was based on a Chinese game toplist and the other model was based on a Western game toplist. The survey was conducted through Internet surveys and interviews. Results showed that there were graphical differences between games from Chinese and Western game lists, but there is not a significant difference between game developers' preferences.

Esta pesquisa busca articular problemas de invenção e de recepção dos testamentos e das outras formas poéticas atribuídas ao Mestre François Villon. Na primeira parte, tratamos do gênero dos dois testamentos enunciados pela personagem do Vilão (Villon), com base nos preceitos e modelos poéticos que orientavam a invenção das letras na França do séc. XV. Paródias do testamento amoroso da época, o Pequeno e o Grande Testamento de Mestre François Villon são unificados pelo exemplo do arrependimento do Vilão antes da morte. Na segunda parte, estudamos a constituição do corpo poético transmitido sob a sua autoridade desde as primeiras edições nos sécs. XV e XVI, passando pelas edições modernas nos sécs. XIX e XX até as traduções em português no final do séc. XX. Ao mesmo tempo, analisamos a sua recepção em cada um desses três momentos, segundo as concepções de autor como autoridade, como homem e como personagem, respectivamente. Assim, pretendemos investigar os sentidos do nome de François Villon, utilizado para unificar aquele corpo poético. / This work articulate problems of invention and reception of the testaments and other poetic forms attributed to Master François Villon. In the first part, we examine the gender of the two testaments enounced by the Villain (Villon), using the poetic precepts and models based on which the writing was invented in the 15c in France. Parodies of the lovers testament from that time, the Small and the Greater Testament of Master François Villon are unified by the exemple of the Villains repentance before dying. In the second part, we study the establishment of the poetic corpus transmitted under his authority since his first editions in the 15th and 16th century, passing throught his modern editions in the 19c and 20c, until his portuguese translations at the end of the 20c. Simultaneaously, we focus its reception in each one of those three moments, based of the conceptions of author as a authority, as a individual and as a character, respectively. We aim to investigate the senses of the name of François Villon, which has been used to unify that corpus.

A expressão é uma das noções mais importantes da filosofia de Leibniz. O filósofo a aborda diretamente em alguns textos, porém, mais que um objeto de análise, a noção de expressão organiza e faz convergir reflexões acerca da teologia, da ontologia e da epistemologia leibnizianas. Leibniz não é o primeiro a tratar da expressão, a originalidade de sua abordagem está em uma interpretação matemática da expressão, que permite defini-la como uma analogia de relações entre a expressão e o exprimido. Uma coisa exprime outra, diz Leibniz, quando há uma correspondência regular e recíproca entre as duas, ou entre o que se pode dizer de uma e de outra. Assim, a expressão pressupõe a analogia e a harmonia. Definida a relação expressiva nesses termos é possível, no nível teológico ou metafísico, explicar como Deus se exprime em formas simples, absolutas e infinitas, que se exprimem em sistemas gerais de fenômenos ou mundos possíveis, que estão exprimidos em noções individuais e não existem fora delas. No nível ontológico, diremos que os indivíduos exprimem Deus como causa e o mundo de que fazem parte. Esses indivíduos, por sua vez, se exprimem como fenômenos que são unificados pelo pensamento como corpos. A relação que define os corpos e a relação entre corpos exprimem as relações ideais que as substâncias individuais mantêm entre si, a ordem física exprime a ordem metafísica. No nível epistemológico, diremos que nossas idéias exprimem as idéias de Deus, convimos com Deus nas mesmas relações. Mas para conhecer essas relações é preciso desenvolver a expressão presente em uma idéia. A classificação das idéias em Leibniz pressupõe esse desenvolvimento progressivo que se dá como uma análise gradual: as idéias podem ser obscuras ou claras, estas confusas ou distintas, estas inadequadas ou adequadas, e as idéias adequadas podem ser objeto de um conhecimento cego ou simbólico e de um conhecimento intuitivo, muito raro. A abrangência da noção de expressão permite colocar em relação ordens heterogêneas e mostrar a convergência e a semelhança dos diferentes. Nessa medida, podemos relacionar coisas tão diferentes como caracteres e pensamentos, daí a busca de Leibniz por uma língua ou Característica universal. / Expression is one of the most important notions of Leibniz\'s philosophy. The philosopher addresses it directly in some texts, however, more than an object of analysis, the notion of expression organizes and makes reflections about Leibnizian theology, ontology and epistemology converge. Leibniz is not the first to deal with expression; the originality of his approach lies in a mathematical interpretation of expression, which makes it possible to define it as an analogy of relations between expression and expresser. One thing expresses another, says Leibniz, when there is a regular and reciprocal correspondence between the two, or between what can be said of one and the other. Accordingly, expression presupposes analogy and harmony. Having defined the relation of expression in these terms, it is possible, at the theological or metaphysical level, to explain how God expresses himself in simple, absolute and infinite forms, which express themselves in general systems of phenomena or possible worlds, which are expressed in individual notions and do not exist outside them. At the ontological level, we shall say that individuals express God as a cause and the world which they are part of. These individuals, in turn, express themselves as phenomena that are unified by tho ught as bodies. The relation that defines the bodies and the relation between bodies express the ideal relations that individual substances maintain amongst themselves, the physical order expresses the metaphysical order. At the epistemological level, we shall say that our ideas express the ideas of God; we agree with God in the same relations. But to know these relations, the present expression in an idea has to be developed. The classification of ideas in Leibniz presupposes this progressive development that takes place as a gradual analysis: the ideas may be obscure or clear, these ones confused or distinct, these ones inadequate or adequate, and the adequate ideas may be the object of a blind or symbolic knowledge and of an intuitive knowledge, very rare. The scope of the notion of expression makes it possible to put heterogeneous orders into a relation and to show the convergence and similarity of different things. In this measure, we can relate such different things as characters and thoughts, hence Leibniz\'s quest for a universal language or Characteristic.

A investigação O Discurso de Celestina tem a finalidade de estabelecer dialogicamente as relações entre representações sociais, ideologia e elementos linguísticos que unem a protagonista Celestina à enunciação. Essas relações se concretizam no seio das esferas literária e histórico-social. Com esse propósito foi feito um recorte na perspectiva discursiva, espaço em que se efetiva uma série de relações de poder por intermédio das ações de Celestina. O discurso deste personagem, persuasivo por excelência, emerge da crise dos valores renascentistas, na obra La Celestina, editada pela primeira vez em 1499 e escrita por Fernando de Rojas, judeu converso, em Salamanca, Espanha. O discurso desta protagonista parece revelar a voz do autor que ora desvenda, ora encobre suas intenções, seus interesses e contextos. Seu conteúdo é redefinido e ou esvaziado, o que valoriza seu caráter paradoxal e irônico, como reflexo da cultura humanística de Rojas. Recorremos à Análise do Discurso para abordar os elementos da Nova Retórica que dessem conta do éthos discursivo de Celestina e, no seio dessa análise, nos deparamos com elementos dos mais diversos campos de estudo; destacamos, dentre eles, a parte da que analisa a reformulação textual da segunda carta de Sêneca a Lucílio sobre a diversidade da leitura e a parte que identifica os elementos do esperpento de Valle Inclán. Para concluir, reconhecemos que a persuasão é a principal característica do discurso de Celestina para alcançar seus objetivos pessoais e que ela é um personagem que se constrói e se destrói em seu discurso e por intermédio dele. / The research The Celestina speech aims to establish a dialogue relations between social representation, ideology and linguistic elements that unite the enunciation to the protagonist Celestina. These relationships are materialized within the ball literary, social historical. For this purpose a cut was made in view discursive space in which an effective series of power relations though the Celestinas actions. The speech of this character, persuasive par excellence, emerging from the transition period to the Renaissance. The book La Celestina was written around 1498 in Salamanca, Spain, by Fernando de Rojas, a Jewish convert. This speech is the real protagonist, as it reveals the authors voice, that sometimes unravels and conceals his intentions, interest and backgrounds. Its contest is reset or empty and that values its ironic and paradoxical character, reflecting that episodic memory. We appeal to the discourse analysis to address the elements of the New Rhetoric devised to address the discursive ethos of Celestina and within this analysis, we encounter elements of many fields of study, we have emphasized, among them the part of the research that identifies elements of Valle Inclán Esperpento and textual study of the reformulation of the second Senecas letter to Lucilius about the diversity of reading. To conclude, we recognize that persuasion is the hallmark of Celestinas speech to achieve her personal goals and she is a character who builds and destroys in her speech and through it.

Este trabalho investiga o significado do termo tu/xh em Eurípides, sobretudo na tragédia Hipólito. \"Acaso\", \"sorte\", \"fortuna\", traduções usuais para tu/xh, sugerem o significado de \"acontecimento fortuito\". Se assim fosse, de que modo esse \"acaso\" coexistiria na Tragédia com a noção, tão própria ao mundo grego, de \"destino\" (moi=ra, a)na/gkh, dai/mwn)? Na verdade, a análise das ocorrências em Eurípides demonstrou que a tu/xh não é mero \"acaso\". Ao contrário, costuma ter origem divina e ser instrumento da moi=ra. A tu/xh é o destino no momento em que se precipita em acontecimento. A instabilidade da \"sorte\" é categórica na vida e reiterada na Tragédia. Não é possível considerar feliz alguém que esteja vivo, pois a vida é apenas incerteza: rapidamente se pode inverter uma situação favorável. Os reveses da \"sorte\" atingem, em particular, aqueles que, seguros de si, se vangloriam do que são e da condição que possuem. Pertinente é o aforismo de Heráclito (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"o caráter do homem é seu destino\" ou \"o destino do homem é seu caráter\". Há relação causal entre o caráter de um personagem trágico e aquilo que lhe sobrevém. Tal caráter é investigado através dos termos psíquicos que utiliza Eurípides para seus protagonistas (frh/n e cognatos, kardi/a, yuxh/, qumo/j, etc.). / This work investigates the meaning of the word tu/xh in Euripedes and mainly in the Hyppolytus tragedy. \"Chance\", \"luck\" and \"fortune\" suggest the meaning of \"fortuitous event\" therefore they are usual translations for tu/xh. If it was like this, on which way would this \"chance\" coexist in the Tragedy with the notion of \"fate\" (moi=ra, a)na/gkh, dai/mwn) that is so peculiar to the Greek world? Indeed, the analysis of the occurrences in Euripedes has demonstrated that tu/xh is not merely \"chance\". On the contrary, it is accustomed to have a divine origin and to be the instrument of moi=ra. Tu/xh is fate in the moment that it turns into happening. \"Luck\" instability is categorical in life and reiterated in the Tragedy. It is not possible to consider someone that is alive happy, because life is just uncertainness: a favorable situation may be reversed rapidly. Reverses of \"luck\" affect specifically those that are self-confident and pride of themselves due to what they are and the conditions they have. Heraclitus\' aphorism is pertinent (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"a man\'s character is his fate\" or \"a man\'s fate is his character\". There is a relation of cause between the character of a tragic personage and what befalls him. Such character is investigated through psychic terms that Euripides uses for his protagonists (frh/n and cognates, kardi/a, yuxh/, qumo/j etc.).

O nosso projeto de Mestrado em Estudos Comparados de Literaturas de Língua Portuguesa, com ênfase na literatura moçambicana, surgiu de uma constatação do quotidiano de mulheres africanas em geral. Decidimos trabalhar, no caso da nossa dissertação, a questão da trajetória da personagem Rami no romance Niketche: uma história de poligamia, para encarar o feminismo fora das bandeiras ocidentais tal como o conhecemos e dar ao termo uma conotação africana, destacando de fato certa singularidade na(s) ideologia(s) feminista(s): a consciência da subalternidade. Esta singularidade naquela(s) ideologia(s) vem se afastando da política que radicaliza o debate e o orienta na direção da negação do homem. O nosso crescente interesse pela escrita feminina nasceu do fato de, em quase todos os romances africanos, de autoria feminina, lidos, termos descoberto uma certa convergência na abordagem relativa à questão do estatuto das mulheres dentro das sociedades africanas. Neste contexto, a autora Paulina Chiziane, de Moçambique, evidencia bem, com o seu romance Niketche, uma história de poligamia, esse questionamento ao estatuto das mulheres, construindo personagens que vão, no decorrer da narrativa, realçar o contexto ideológico do feminismo africano. Três críticos nos ajudarão, com suas reflexões, para a aproximação da trajetória da personagem com a ideologia feminista africana. São eles: Pierrette Herzberger-Fofana (2000) para a questão do feminismo africano, Antonio Candido (1963) e Roland Bourneuf (1976) para tratar das personagens. / Our Project for a Masters Degree in Comparative Studies of Portuguese Language Literatures, emphasizing on Mozambican literature, arose from findings about African womens general everyday lives. We decided to work on the case of our dissertation, the question of the Rami characters trajectory in the romance Niketche: uma história de poligamia (Niketche: a story of polygamy) to confront feminism away from occidental standards such as we know it and give an African connotation to the term, outlining in fact a certain singularity in feminist ideology(ies): the cognizance of the inferiority. This singularity in that(those) ideology(ies) has been moving away from the policy that radicalizes the debate and orientates to the direction of mans denial. Our growing interest in the feminine writing was born from the fact of the discovery in nearly all African romances, of feminine authoring, read, a certain converging in the approach related to the question of the womens statute within the African societies. In this context the authoress Paulina Chiziane of Mozambique shows, well as her romance Niketche, uma história de poligamia, this questioning of the womens statute by building characters that will, during the unrolling of the story, highlight the ideological context of the African feminism. Thus, three critics will help us with their reflections to enable the approach of the trajectory of the character to the African feminist ideology. They are Pierrette Herzberger-Fofana (2000) for the African feminist ideology, Antonio Candido (1963) and Roland Bourneuf (1976) to deal with the characters.

O presente trabalho procura entender como Anthony Ashley Cooper (o Terceiro Conde de Shaftesbury) concebeu a noção de caráter moderno a partir da análise de alguns elementos de sua filosofia, a saber: a relação entre o gênero humano e a natureza, a formação da identidade individual e a de uma época, o vínculo entre a questão da escritura e a atividade filosófica. Cada um dos três capítulos de nosso estudo foi dedicado (respectivamente) a um desses assuntos. Tendo como base Os moralistas, a Investigação sobre a virtude e a Carta sobre o entusiasmo, o primeiro capítulo busca examinar o vínculo que Shaftesbury estabelece entre o homem e o sistema da natureza, ou seja: como o gênero humano se relaciona com o universo e qual é o seu papel no interior do mundo natural. A partir da idéia shaftesburiana de solilóquio (exposta no texto que leva o mesmo nome: Solilóquio ou conselho a um autor), o segundo capítulo procura compreender como o filósofo inglês pensa o liame entre o que ele mesmo denomina processo de personificação e o surgimento das artes, da filosofia e da identidade de uma época. Por fim, o terceiro capítulo visa mostrar que a questão da polidez e do aprimoramento do gosto não apenas foi um dos principais temas da obra do filósofo inglês, como também está intimamente ligada à sua concepção de filosofia. / The object of this thesis is the philosophy of Anthony Ashley Cooper, third earl of Shaftesbury, and more specifically the conception it presents of a modern character. Shaftesbury\'s understanding of modernity in philosophical terms is present in at least three of the main themes of his philosophy: the relation between mankind and nature, the formation of the individual character as a component of the character of the times, the bounds that tie philosophical reflection to the art of writing. The first chapter of the thesis examines Shaftesbury understanding of man\'s role in the natural world, or the relations between mankind as a species and nature as a system. The focus is on The moralists, a philosophical rhapsody, An inquiry concerning virtue or merit and A letter of enthusiasm. The second chapter deals with the text of Soliloquy, or advice to an author, in order to show how Shaftesbury conceives the process of personification as the precondition for the rising of the arts (including philosophy) which in turn are taken as the defining element of the character of the times. The third chapter shows that politeness and the refinement of taste, far from being mere motifs of fashion, are understood by Shaftesbury as philosophical topics of major importance. The focus here is on the texts of the Miscellaneous reflections and of Plastics.

by Lo I Fan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references. / Chapter Chapter 1: --- Introduction / Chapter 1.1 --- The Evolution of Fonts --- p.1 / Chapter 1.2 --- Bitmap Fonts --- p.2 / Chapter 1.3 --- Outline Fonts / Chapter 1.3.1 --- Arc and Vector Form --- p.4 / Chapter 1.3.2 --- Spline Form --- p.4 / Chapter 1.3.3 --- Pros and Cons of Outline Fonts --- p.8 / Chapter 1.4 --- Examples of Outline Fonts / Chapter 1.4.1 --- Adobe's PostScript --- p.9 / Chapter 1.4.2 --- Apple's and Microsoft TrueType / Chapter 1.4.2.1 --- Outline Representation --- p.10 / Chapter 1.4.2.2 --- Rasterisation --- p.12 / Chapter 1.4.2.3 --- Hinting --- p.13 / Chapter 1.5 --- Bold Fonts / Chapter 1.5.1 --- Definition of Bold --- p.15 / Chapter 1.5.2 --- Definition of Auto B oldness --- p.16 / Chapter 1.5.3 --- Auto Boldness by Double Printing --- p.17 / Chapter 1.5.4 --- Auto Boldness by Multi-Master Technique --- p.18 / Chapter 1.6 --- Chinese Fonts / Chapter 1.6.1 --- Chinese Character Sets --- p.19 / Chapter 1.6.2 --- The Subtleties of Chinese Fonts Auto Boldness --- p.21 / Chapter 1.7 --- Project Objective --- p.23 / Chapter 1.8 --- Goals --- p.23 / Chapter Chapter 2: --- Main Ideas of Chinese Font Auto Boldness / Chapter 2.1 --- Prototype of Auto Boldness Driver --- p.24 / Chapter 2.2 --- Design Features of the Prototype Auto Boldness Driver --- p.25 / Chapter 2.3 --- Data Structure and Algorithm of Auto Boldness / Chapter 2.3.1 --- Data Structure of TrueType Character Outline --- p.27 / Chapter 2.3.2 --- Algorithm of Auto Boldness --- p.28 / Chapter 2.3.3 --- Algorithm Description --- p.29 / Chapter 2.4 --- Component Font Auto Boldness --- p.35 / Chapter Chapter 3: --- Language of Auto Boldness / Chapter 3.1 --- Enhancements of TrueType Engine to support Auto Boldness --- p.36 / Chapter 3.2 --- Symmetric Bold Instruction --- p.38 / Chapter 3.3 --- Rotate Bold Instruction --- p.47 / Chapter 3.4 --- Asymmetric B old Instruction --- p.50 / Chapter 3.5 --- Comparison of Bold Instructions --- p.54 / Chapter 3.6 --- Serif Accommodation Instruction --- p.55 / Chapter Chapter 4: --- Shape Parsing and Auto Bold Code Generation / Chapter 4.1 --- Compilation Process and Auto Boldness --- p.62 / Chapter 4.2 --- Shape Lexical Analyzer --- p.64 / Chapter 4.3 --- Shape Token Attributes Evaluation / Chapter 4.3.1 --- line Token --- p.66 / Chapter 4.3.2 --- bezier2 Token --- p.67 / Chapter 4.3.3 --- sharp Token --- p.70 / Chapter 4.3.4 --- concave Token --- p.75 / Chapter 4.3.5 --- convex Token --- p.75 / Chapter 4.4 --- Scope of Shape Parsing --- p.76 / Chapter 4.5 --- Shape Parsing Mechanism --- p.77 / Chapter 4.6 --- Model Grammar Rules / Chapter 4.6.1 --- Grammar Rule Format --- p.81 / Chapter 4.6.2 --- Grammar Rule Item --- p.82 / Chapter 4.6.3 --- Grammar Rule Assignment --- p.83 / Chapter 4.6.4 --- Grammar Rule Condition --- p.83 / Chapter 4.7 --- Auto Boldness Code Generation --- p.84 / Chapter 4.8 --- Program Methodology of Prototype Auto Boldness Driver --- p.86 / Chapter Chapter 5: --- Conclusions / Chapter 5.1 --- Work Achieved --- p.87 / Chapter 5.2 --- The Pros and Cons of Auto Boldness Algorithm --- p.88 / Chapter 5.3 --- Bold Quality Assessments --- p.91 / Chapter 5.3 --- Future Directions --- p.93 / References / Appendix One / Appendix Two

by Wong Tsz Kin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 45-47). / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Characteristics of Chinese Character --- p.2 / Chapter 1.1.1 --- The Nature of Chinese Language --- p.2 / Chapter 1.1.2 --- The Structure of Chinese Characters --- p.3 / Chapter 1.1.3 --- Basic Writing Strokes --- p.3 / Chapter 1.1.4 --- Writing Stroke Sequencing --- p.3 / Chapter 1.1.5 --- Geographic Structure of Components --- p.4 / Chapter 1.2 --- Stroke Distribution of Chinese Characters --- p.5 / Chapter 1.3 --- Radical --- p.5 / Chapter 1.4 --- Overview --- p.6 / Chapter 1.5 --- Objective --- p.10 / Chapter 2 --- Preprocessing --- p.12 / Chapter 2.1 --- Smoothing and Sampling --- p.12 / Chapter 2.2 --- Interpolation --- p.13 / Chapter 2.3 --- Dehooking --- p.13 / Chapter 2.4 --- Normalization --- p.14 / Chapter 2.5 --- Stroke Segmentation --- p.15 / Chapter 3 --- Preclassification --- p.18 / Chapter 3.1 --- Feature Analysis --- p.18 / Chapter 3.2 --- Radical Detection --- p.20 / Chapter 3.3 --- Description of The Preclassification Component --- p.22 / Chapter 3.4 --- Results and Conclusions --- p.23 / Chapter 4 --- The Recognition Stage --- p.25 / Chapter 4.1 --- Introduction --- p.25 / Chapter 4.2 --- Stroke Match Algorithm --- p.26 / Chapter 4.3 --- Relation Match Stage --- p.30 / Chapter 4.3.1 --- Introduction --- p.30 / Chapter 4.4 --- Final Classification --- p.35 / Chapter 5 --- Results and Conclusions --- p.39 / Chapter 5.1 --- Experiment Results --- p.39 / Chapter 5.2 --- Analysis --- p.39 / Chapter 5.3 --- Conclusions