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This book tells the reader all about psychological identification, the single most important process for becoming, maintaining, or changing who we are as characters. The book's emphasis, though, is decidedly on identification's role in our becoming who we are. It is one thing for people to have an image of who they are or of who they would like to be, it is quite another for them to actually become that image. Through genuinely identifying with these sorts of things, we turn what otherwise would be mere mental pictures of traits into character traits that we psychologically own. Readable to laypersons as well as to academicians, this book offers a new perspective for understanding the formation and nature of human character. Kamler also discusses some important issues in psychoanalysis and philosophy. He clarifies the current psychoanalytic debate about identification's place among the primitive processes of self development; offers new ways of looking at the relationship between the infant self and the adult character; and addresses topics such as personal identity and identity crisis. In addition, the book speaks to a current philosophical debate about the fundamental nature of self, offering the author's own thesis and showing how all the protagonists in the discussion share a basically flawed position about the role that having values plays in our being persons.
Over the last few decades, character-based criticism has been seen as either naive or obsolete. But now questions of character are attracting renewed interest. Making the case for a broad-based revision of our understanding of character, Character rethinks these questions from the ground up. Is it really necessary to remind literary critics that characters are made up of words? Must we forbid identification with characters? Does character-discussion force critics to embrace humanism and outmoded theories of the subject? Across three chapters, leading scholars Amanda Anderson, Rita Felski, and Toril Moi reimagine and renew literary studies by engaging in a conversation about character. Moi returns to the fundamental theoretical assumptions that convinced literary scholars to stop doing character-criticism, and shows that they cannot hold. Felski turns to the question of identification and draws out its diverse strands, as well as its persistence in academic criticism. Anderson shows that character-criticism illuminates both the moral life of characters, and our understanding of literary form. In offering new perspectives on the question of fictional character, this thought-provoking book makes an important intervention in literary studies.
Practical Plant Identification is an essential guide to identifying flowering plant families (wild or cultivated) in the northern hemisphere. Details of plant structure and terminology accompany practical keys to identify 318 families into which flowering plants are divided. Specifically designed for practical use, the keys can easily be worked backwards for checking identifications. Containing descriptions of families and listings of the genera within, it also includes a section on further identification to generic and specific levels. A successor to the author's bestselling The Identification of Flowering Plant Families, this guide is updated, and retains the same concise user-friendly approach. Cullen skillfully leads the reader from restrictive disciplines of older taxonomy, into an era of increasing numbers of plant families defined by DNA analysis. Aimed primarily at students of botany and horticulture, this is a perfect introduction to plant identification for anyone interested in plant taxonomy.
Character and Person explores the category of fictional character, one of the most widely used and least adequately theorized concepts in literary studies, cultural studies, and everyday usage. It sets fictional character in relation to the concept of person and tries to examine how each of these terms is constructed across different cultures.
"Character" has become a front-and-center topic in contemporary discourse, but this term does not have a fixed meaning. Character may be simply defined by what someone does not do, but a more active and thorough definition is necessary, one that addresses certain vital questions. Is character a singular characteristic of an individual, or is it composed of different aspects? Does character--however we define it--exist in degrees, or is it simply something one happens to have? How can character be developed? Can it be learned? Relatedly, can it be taught, and who might be the most effective teacher? What roles are played by family, schools, the media, religion, and the larger culture? This groundbreaking handbook of character strengths and virtues is the first progress report from a prestigious group of researchers who have undertaken the systematic classification and measurement of widely valued positive traits. They approach good character in terms of separate strengths-authenticity, persistence, kindness, gratitude, hope, humor, and so on-each of which exists in degrees. Character Strengths and Virtues classifies twenty-four specific strengths under six broad virtues that consistently emerge across history and culture: wisdom, courage, humanity, justice, temperance, and transcendence. Each strength is thoroughly examined in its own chapter, with special attention to its meaning, explanation, measurement, causes, correlates, consequences, and development across the life span, as well as to strategies for its deliberate cultivation. This book demands the attention of anyone interested in psychology and what it can teach about the good life.
BOOK ONE IN THE BROKEN EMPIRE TRILOGY “Prince of Thorns deserves attention as the work of an iconoclast who seems determined to turn that familiar thing, Medievalesque Fantasy Trilogy, entirely on its head.”—Locus When he was nine, he watched as his mother and brother were killed before him. By the time he was thirteen, he was the leader of a band of bloodthirsty thugs. By fifteen, he intends to be king... It’s time for Prince Honorous Jorg Ancrath to return to the castle he turned his back on, to take what’s rightfully his. Since the day he hung pinned on the thorns of a briar patch and watched Count Renar’s men slaughter his mother and young brother, Jorg has been driven to vent his rage. Life and death are no more than a game to him—and he has nothing left to lose. But treachery awaits him in his father’s castle. Treachery and dark magic. No matter how fierce his will, can one young man conquer enemies with power beyond his imagining?
The field of social cognitive neuroscience has captured the attention of many researchers during the past ten years. Much of the impetus for this new field came from the development of functional neuroimaging methods that made it possible to unobtrusively measure brain activation over time. Using these methods over the last 30 years has allowed psychologists to move from simple validation questions -- would flashing stimuli activate the visual cortex -- to those about the functional specialization of brain regions-- are there regions in the inferior temporal cortex dedicated to face processing-- to questions that, just a decade ago, would have been considered to be intractable at such a level of analysis. These so-called "intractable" questions are the focus of the chapters in this book, which introduces social cognitive neuroscience research addressing questions of fundamental importance to social psychology: How do we understand and represent other people? How do we represent social groups? How do we regulate our emotions and socially undesirable responses? This book also presents innovative combinations of multiple methodologies, including behavioral experiments, computer modeling, functional Magnetic Resonance Imaging (fMRI) experiments, Event-Related Potential (ERP) experiments, and brain lesion studies. It is divided into four sections. The first three sections present the latest research on, respectively, understanding and representing other people, representing social groups, and the interplay of cognition and emotion in social regulation. In the fourth section, contributors step back and consider a range of novel topics that have emerged in the context of social neuroscience research: understanding social exclusion as pain, deconstructing our moral intuitions, understanding cooperative exchanges with other agents, and the effect of aging on brain function and its implications for well-being. Taken together, these chapters provide a rich introduction to an exciting, rapidly developing and expanding field that promises a richer and deeper understanding of the social mind.
The Cambridge History of the English Novel chronicles an ever-changing and developing body of fiction across three centuries. An interwoven narrative of the novel's progress unfolds in more than fifty chapters, charting continuities and innovations of structure, tracing lines of influence in terms of themes and techniques, and showing how greater and lesser authors shape the genre. Pushing beyond the usual period-centered boundaries, the History's emphasis on form reveals the range and depth the novel has achieved in English. This book will be indispensable for research libraries and scholars, but is accessibly written for students. Authoritative, bold and clear, the History raises multiple useful questions for future visions of the invention and re-invention of the novel.
This book constitutes the refereed proceedings of the 6th International Conference on Entertainment Computing, ICEC 2007. The papers are organized in topical sections on augmented, virtual and mixed reality, computer games, image processing, mesh and modeling, digital storytelling and interactive systems, sound, music and creative environments, video processing, rendering, computer animation and networks, game based interfaces, as well as robots and cyber pets.
Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students¿ learning, while enhancing the creativity and critical thinking of the student.