American Horror Story, with its strong narrative arcs, interesting characters and high production values, is one of the most important horror TV series in the…
American Horror Story, with its strong narrative arcs, interesting characters and high production values, is one of the most important horror TV series in the post-millennial years. This chapter will focus on the four roles played by Oscar-winning actress, Jessica Lange in the first four series.
The play text, You Strike the Woman, You Strike the Rock, (Klotz, 1994) takes its title from a protest slogan ‘Wathint Abafazi’Wathint’. This slogan is associated with the…
The play text, You Strike the Woman, You Strike the Rock, (Klotz, 1994) takes its title from a protest slogan ‘Wathint Abafazi’Wathint’. This slogan is associated with the Women’s Protest March in 1956, the largest mass gathering of women in South African herstory where women gathered to demonstrate peacefully against the imposition of pass laws on black South African women. The play recalls the story of the Women’s March and their courage as they fought against the imposition of the pass laws and is based on the lives of three women, Sdudla, Mampompo and Mambhele who sell chickens, vetkoek and oranges near a taxi rank in the squatter camp of Crossroads in Cape Town. Sdudla is the political activist who tries throughout the play to politicise both Mampompo and Mamphlele by making frequent references to the Women’s March and recalling the defiance and strength of the women who went on that March. What You Strike the Woman You Strike the Rock does is firstly to emphasise and explore the personal experiences, and perspectives of three women and, importantly, to represent a break from tradition, secondly to use consciousness-raising as a way for the women to talk about their experiences; to offer their testimony and, thirdly, to use the process as a bonding experience.
The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the RSR review column, “Recent Reference Books,” by Frances Neel Cheney. “Reference Books in Print” includes all additional books received prior to the inclusion deadline established for this issue. Appearance in this column does not preclude a later review in RSR. Publishers are urged to send a copy of all new reference books directly to RSR as soon as published, for immediate listing in “Reference Books in Print.” Reference books with imprints older than two years will not be included (with the exception of current reprints or older books newly acquired for distribution by another publisher). The column shall also occasionally include library science or other library related publications of other than a reference character.
For many years, science fiction has been perceived as “rayguns and rocket ships” boys' literature. Any number of impressionistic and statistical studies have identified…
For many years, science fiction has been perceived as “rayguns and rocket ships” boys' literature. Any number of impressionistic and statistical studies have identified the typical SF reader as male, between the ages of twelve and twenty and, in the case of adults, employed in some technical field. Yet I continually find myself having conversations with women, only to find that they, like myself, began reading science fiction between the ages of six and ten, have been reading it voraciously ever since, and were often frustrated at the absence of satisfying female characters and the presence of misogynistic elements in what they read. The stereotype of the male reader and the generally male SF environment mask both the increasing presence of women writers in the field of science fiction and the existence of a feminist dialog within some SF novels. This dialog had its beginnings in the mid‐sixties and is still going strong. It is the hope of the feminist SF community that this effacement can be counteracted.
This paper aims to explore theme park visitors’ attitudes toward interacting with robots and investigated the qualities and functions of robotic servers and their…
This paper aims to explore theme park visitors’ attitudes toward interacting with robots and investigated the qualities and functions of robotic servers and their influence on customers’ loyalty. A structural equation modeling approach was used to identify the complex relationships among variables in the entire network.
An online survey randomly assigned respondents to four different robotic server scenarios with robots that look like humans, animals, cartoon characters and anime features. The influence of robot types was investigated by manipulating robot type with four different pictures; however, the data were analyzed with a structural equation modeling model to identify the complex relationships rather than one-way analysis of variance to identify influences of robot types on different variables in separate analyzes.
The data collected from the 385 experienced theme park visitors revealed that perception of robots with human orientation and safety qualities had the strongest effect on the perceived robotic functionality, while emotions and co-creation qualities hardly had any effect on the perceived functionality, which included utilitarian rather than experiential functions such as excitement. Human orientation qualities, regardless of the specific robotic design, had a significant impact on perceived robotic functionality. The study also revealed a strong positive influence of perceived robotic functionality on customer loyalty.
The debate of whether or not to introduce and blend the growing robotic technology into the theme park experience is in its infancy. The study contributes to the theory of how robotics qualities and functions can augment customer loyalty.