Search results

Professional storytelling and interpretive techniques can be successfully adapted for the classroom. For educators, character interpretation is an especially effective teaching tool. The author uses her extensive experience as an actress, storyteller, and educator to explain why character interpretation works so effectively to engage students and capture their attention. More than traditional methods of instruction, these established techniques put a “face” on history: They place people and events in a relatable, humanizing context that supports the teaching of controversial topics such as human rights and revolution. Using real-world examples, Tucker explains how character interpretation attracts people at all levels of ability and interest. Such presentations enable students to not only connect with historical figures' perspectives and motivations but also compare their own contemporary worldviews. Further, teachers can connect STEM education with history through their choice of people to portray, drawing from contemporary as well as historical figures to illustrate key learning concepts. This chapter outlines the educational value of framing a presentation within a socio/political/scientific context; doing so helps students to relate the presentation content to their own perceptions and to frame appropriate questions for the character if a Q&A takes place. The chapter further deconstructs the complexities of character interpretation into a series of manageable steps, explaining the sequence of storytelling from character conception to performance. Guiding questions at the end provide useful suggestions for dramatic presentations by teachers and students.

The Archers is a much-loved soap opera which relies entirely on audio outputs: on actors speaking and listeners listening. Despite this, many silent characters populate the drama. In fact, from Rosaline in Shakespeare’s Romeo and Juliet to Godot in Beckett’s Waiting for Godot, and not forgetting Tracey the barmaid in Eastenders, silent characters have long played a crucial role in dramatic productions, an influence all the more acutely felt if they are unseen as well as unheard. Therefore, using key examples of silent characters, and with reference to Freda Fry in particular, I discuss the expanding role and influence of the silent characters in The Archers. In addition, by invoking philosophies of language and silence, I will suggest they have an influence and potency in the storylines that speaking actors should envy, and that Freda Fry reigns supreme over all others.

Most fairy tale narratives have a hero, a damsel in distress and the ever-present opposing villain. The villains, or antagonists, share several commonalities across the various narratives as well as one over-arching trait of evil. However, as television viewers have become more intuitive, and demand for more sophisticated narratives have increased, contemporary portrayals of villains, as in the television series Once Upon a Time (Horowitz & Kitsis, 2011–2018), have shifted away from presenting villains as one-dimensional and restricted characters.

Instead, the construct of evil is depicted as a multifaceted and evolutionary trait of the character. Whereas previously evil was the fundamental core of the character it is now presented as a fluid concept. This chapter investigates how the construct of evil, and therefore the villain, has been redefined through a contemporary television narrative.

“Dora! Dora!” squealed my 18-month-old son from his stroller on the crowded subway platform. I scanned the crowd but could not locate the source of his excitement. Then a young girl turned her back to us and I saw on her purple backpack the face of “Dora the Explorer,” whose name had made its way into my son's small vocabulary. This scene could have easily taken place in any city or town in the US; young children of all ethnicities are familiar with Dora's animated television program. Worldwide, parents have spent over $3 billion on Dora the Explorer merchandise since 2001, and most products feature English and Spanish phrases (Jiménez, 2005). And Dora is not alone: her show was just the first in a recent wave of animated educational children's programs featuring Latino main characters and dialogue in Spanish.

This study aims to further investigate the relationship between perceived adherence to gender norms and binge drinking in college students. Thus, researchers examined college students’ perceptions of adherence to masculine and feminine gender norms when gender and alcohol consumption of a vignette character were manipulated.

Undergraduate participants (N = 368) were randomly assigned to one of four vignette conditions: female moderate drinker, female binge drinker, male moderate drinker, male binge drinker and then surveyed regarding perceptions of the vignette character.

The results of this study indicate that there are significant relationships between the vignette character’s alcohol consumption and perceived adherence to feminine gender norms. The character’s gender, as well as the participant’s own alcohol consumption patterns, also related to perceived adherence to feminine gender norms.

College students’ perceptions of binge drinkers are influenced by gender norms, which has important implications for safe consumption of alcohol. When young men (or young women) are encouraged to drink to avoid appearing too feminine, negative consequences may be more likely. In this study, perceptions of the vignette character’s safety were also found to be related to alcohol consumption of the vignette character, as well as the alcohol consumption of the participant, suggesting that a heavy drinker might not show as much concern for another’s heavy consumption.

A motif, as defined by Jean-Charles Seigneuret (1988, p. 17), is an ‘essential part of a contemporary academic discipline known as thematology or thematics’ and that ‘two factors may explain the rise of the thematological method: its interpretive potentialities and its intrinsic congruency with the history of ideas’.

Jacob and Wilhelm Grimm first introduced the story of Snow White and her evil stepmother the Queen in 1812. Decades later, the character of the Queen, who later becomes the Evil Queen, is depicted in copious narratives and several different mediums. A central parallel in most of the representations of this character is that she is presented as evil. As such, how the Evil Queen character is represented in media sees a congruence of specific aesthetical characteristics, which combines to symbolize a rhetorical motif for evil.

In this chapter, I utilize insights from symbolic interaction to analyze the identity work processes of larp subculture participants to construct and perform their in-game identities. I extend the research on larp subcultures in two ways. First, I place larping within the larger context of leisure subcultures and society by arguing that larping is representative of changes in leisure and subcultures in postmodern society. Second, I draw upon ethnographic data collected among the New England Role-playing Organization (NERO) to analyze larpers character identity performances. RPG and Larp researchers have developed several theories about the relationship between larp participants and their character performances. While these concepts provide a helpful framework for understanding the participant-character relationship, they undertheorize the in-game constructed performance of identity. Using symbolic interaction theory, I analyze the identity work processes larpers use to construct and perform their larp identities extending our understanding of the similarities between everyday identity and larpers' character identity performances.

Following Lakatos' strategy of a rational reconstruction of science, I present a concrete example of the rise and decline of a research program from the history of the social sciences: the authoritarian character studies of the Frankfurt School. The first version of the authoritarian character studies of the Frankfurt Institute of Social Research was based on a Marxist social and psychoanalytic theory, and included an initial empirical survey. The preliminary results of this survey motivated the Institute's just-in-time emigration from Germany in 1932, and at the same time do not fit into the later theory of the authoritarian character (1936). The second version of the authoritarian character studies (1950) gained the status of a social psychological paradigm, but soon turned into a declining research program, which came to a complete stop around 1968 as far as the Institute of Social Research was concerned. Internal and external factors combined to bring about the sudden end of the authoritarian character studies.

This chapter questions the role of virtues in health professional medical ethics. It distinguishes between the ethics of conduct – usually expressed as moral principles – and the ethics of the character – expressed as virtues. It questions whether virtues are intrinsically valued or valued instrumentally as the means to right conduct. It poses two problems for virtue theory: (1) The “naked virtue” problem – whether instilling virtues increases the probability of correlative morally right conduct, and (2) the “wrong virtue” problem–which of many sometimes controversial virtues should be promoted. The chapter ends by arguing that these are less serious problems for the morality of conduct.