Hasil untuk "Drama"

Scott Shambaugh

We validate Leonid Space's satellite lifetime prediction pipeline through comprehensive backtesting against 934 non-maneuvering satellites that deorbited from LEO between 1961 and 2024. This represents the first large-scale validation of lifetime prediction tooling using forecasted space weather conditions rather than historical hindsight. Our toolchain combines ballistic coefficient estimation from on-orbit data with probabilistic orbit propagation under varying environmental conditions. Using TLE data and space weather records spanning six solar cycles, our three-stage validation approach progressively removes hindsight bias to arrive at fully predictive operational conditions. We achieve 1-year prediction accuracy (median continuously ranked probability score) of 6.0 days (1.6%) under perfect knowledge conditions, 18.6 days (5.1%) with estimated ballistic coefficients and known space weather, and 45.5 days (12.4%) under fully predictive conditions. Comparison against ESA's standard DRAMA & DISCOS toolchain demonstrates a 4x improvement in state-of-the-art accuracy for well-characterized satellites. A custom semianalytic propagator provides a >3500x speedup over Orekit and 4.5x speedup over DRAMA, enabling rapid Monte Carlo analysis across large satellite populations. Our analysis reveals that solar cycle forecasting dominates error budgets after ballistic coefficient estimation, with higher-fidelity propagators and atmosphere models providing marginal benefit. These results establish a validated performance baseline for operational lifetime prediction services supporting LEO mission planning and regulatory compliance.

Elaheh Sanoubari, Neil Fernandes, Keith Rebello et al.

This paper presents REMind, an innovative educational robot-mediated role-play game designed to support anti-bullying bystander intervention among children. REMind invites players to observe a bullying scenario enacted by social robots, reflect on the perspectives of the characters, and rehearse defending strategies by puppeteering a robotic avatar. We evaluated REMind through a mixed-methods play-testing study with 18 children aged 9--10. The findings suggest that the experience supported key learning goals related to self-efficacy, perspective-taking, understanding outcomes of defending, and intervention strategies. These results highlight the promise of Robot-Mediated Applied Drama (RMAD) as a novel pedagogical framework to support Social-Emotional Learning.

Jasmine Sanau

Saida Yelemanova , Lazat Akikhat

The proposed article is dedicated to the creative path of the kuyshi from the Tarbagatai region (PRC) — Uran Akatayuly. It is well known that Kazakh kuy art, depending on its geographical and regional characteristics as well as performance features, is divided into various regional kuy traditions. Among them, the kuy tradition of Eastern Kazakhstan has deep historical roots and covers a vast territory. One of its branches is the kuy school (күй мектебі) of the Kazakhs of the Xinjiang Uygur Autonomous Region of the People's Republic of China. In this region — in the Ili Kazakh Autonomous Prefecture, as well as in Altay, Tarbagatai, Ili, and the prefectures of Sanji, Boro-Tala, the Kumul region, Gansu province, and the cities of Kuytun, Shihezi, and Urumqi — about two million of our compatriots reside. The study of kuy art in these regions can be said to be at an early stage in domestic scholarship. The article addresses the following issues: 1) a description of the kuyshi’s creative work, and 2) a musical analysis of the most notable compositions by the above-mentioned performer. The article is based on materials collected during the author’s ethnographic and folklore expedition conducted in January 2024 in the Ili Kazakh Autonomous Prefecture (city of Kuldzha). The applied methods include the comparative-typological and system-ethnophonic approach (I. Matsiyevsky). The methodology for analyzing dombra kuys developed by Professor S. Öteğalieva is also used. For certain compositions, their origin stories and content are presented, along with a detailed musical analysis.

Ye Eun Chun, Taeyoon Hwang, Seung-won Hwang et al.

Understanding complex character relations is crucial for narrative analysis and efficient script evaluation, yet existing extraction methods often fail to handle long-form narratives with nuanced interactions. To address this challenge, we present CREFT, a novel sequential framework leveraging specialized Large Language Model (LLM) agents. First, CREFT builds a base character graph through knowledge distillation, then iteratively refines character composition, relation extraction, role identification, and group assignments. Experiments on a curated Korean drama dataset demonstrate that CREFT significantly outperforms single-agent LLM baselines in both accuracy and completeness. By systematically visualizing character networks, CREFT streamlines narrative comprehension and accelerates script review -- offering substantial benefits to the entertainment, publishing, and educational sectors.

Guo Zhen

The second season of Why Women Kill has been widely disseminated and discussed in China. By combining an in-depth viewing of Why Women Kill II and the current development of Chinese feminism, this paper adopts the textual close reading to analyze the connotation of beauty, the awakening of female self-awareness, and the abnormal development of Chinese feminism. The work hopes to promote the further development of Chinese feminism, raise the level of gender consciousness in the whole society and accumulate experience and provide reference for similar feminist drama series and related researches in China and abroad.

Aila Regina da Silva, Arthur Hunold Lara

Neste artigo, investiga-se a oposição dor versus prazer a partir do acervo de obras de performance do Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP) entre 1972 e 2021. As performances analisadas têm como principal característica a relação extrema com o limite físico, e este estudo relaciona os conceitos de dor e prazer aos avanços e retrocessos sofridos pelas mulheres nos âmbitos social, político e cultural para compreender quem são as mulheres recebidas dentro do espaço museológico. Ainda, é colocada em perspectiva a construção estética da mulher na história da arte, concatenando as diferentes intersecções para compreender a complexa teia sexual na arte de mulheres.

Cole Alvis, Yolanda Bonnell

This article features reflections on the recent creation of White Girls in Moccasins by Yolanda Bonnell, coproduced by manidoons collective and Buddies in Bad Times Theatre in the spring of 2022. In preparation for the coproduction, members of manidoons collective gathered a group of production artists to discuss alternative ways of working within theatre; particularly the often-stressful process of tech week that precedes opening night. Also featured is an original poem called “Pow Wow” by Yolanda Bonnell, woven into proposals for keeping each other safe(r) when working in the performing arts.

Milan Janosov, Patrik Szigeti

After a long qualifying process packed with surprises (Italy missing out as the reigning European champions) and last minute drama (both Egypt and Peru missed out on penalties), the FIFA World Cup 2022 kicked off on the 20th of November in Qatar. With 32 countries and over 800 players representing nearly 300 clubs globally, it measured up to more than 12 billion EUR in the players' current estimated market value total. In this short piece, we explore what the small and interconnected world of football stars looks like and even make a few efforts and compare success in soccer to social networks.

Keynyn Brysse, N. Oreskes, Jessica O’Reilly et al.

Maria Pia Ferraris

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Revista Cena PPGAC

Editorial

Kamal Hajian

Black hole firewall paradox is an inconsistency between four postulates in black hole physics: (1) the unitary evolution in quantum systems, (2) application of the semi-classical field theory in low curvature backgrounds, (3) statistical mechanical origin of the black hole entropy, and (4) the equivalence principle in the version of no drama for free-falling observers in the vicinity of the horizon. Based on the existence of the Hawking radiation for the static observers standing outside a Schwarzschild black hole, we show a direct contradiction between the postulates (2) and (4). If there is not a way out of this new problem, it implies the necessity of relaxing one of these two assumptions for resolving the black hole firewall paradox.

B. Lee, Erika A. Patall, S. Cawthon et al.

Bregt Lameris

Within the context of the ERC Advanced Grant Filmcolors I investigate subjectivity, affect and aesthetics from an historical perspective, drawing on ideas developed within the field of the history of emotions. However, while most of this research is of a synchronic nature, my work contains a strong diachronic component, based on Fernand Braudel’s concept of the ‘pluralité des durées’ (La Méditerranée, 1966). Following Braudel, I distinguish three layers: 1. the layer of slowly changing affects and connected ‘topoi’; 2. the foundational layer of culture and discourse; and 3. the film under investigation. In this essay, I lay out my theoretical and methodological reflections by focusing on colour patterns used in films that represent hallucinations. I will lay out several examples of hallucinatory scenes (level 1) and explain their common (biological) grounds. Further, I will zoom in on 1960s psychedelic culture characterized by hallucinating drug use as entertainment and as therapeutic tool (level 2). The film of interest (level 3) is The Trip (Roger Corman, 1967), which precisely represents this culture. A combination of the analyses of the three levels brings interesting new perspectives on the 1960s, its psychedelic film culture, and how this relates to the topos of colourful hallucinations.

Jack Merullo, Luke Yeh, Abram Handler et al.

Sports broadcasters inject drama into play-by-play commentary by building team and player narratives through subjective analyses and anecdotes. Prior studies based on small datasets and manual coding show that such theatrics evince commentator bias in sports broadcasts. To examine this phenomenon, we assemble FOOTBALL, which contains 1,455 broadcast transcripts from American football games across six decades that are automatically annotated with 250K player mentions and linked with racial metadata. We identify major confounding factors for researchers examining racial bias in FOOTBALL, and perform a computational analysis that supports conclusions from prior social science studies.

Oluwatobi O. Olabiyi, Anish Khazane, Erik T. Mueller

In this paper, we extend the persona-based sequence-to-sequence (Seq2Seq) neural network conversation model to multi-turn dialogue by modifying the state-of-the-art hredGAN architecture. To achieve this, we introduce an additional input modality into the encoder and decoder of hredGAN to capture other attributes such as speaker identity, location, sub-topics, and other external attributes that might be available from the corpus of human-to-human interactions. The resulting persona hredGAN ($phredGAN$) shows better performance than both the existing persona-based Seq2Seq and hredGAN models when those external attributes are available in a multi-turn dialogue corpus. This superiority is demonstrated on TV drama series with character consistency (such as Big Bang Theory and Friends) and customer service interaction datasets such as Ubuntu dialogue corpus in terms of perplexity, BLEU, ROUGE, and Distinct n-gram scores.

Alice E. Marwick, D. Boyd

Larisa Poplavskaya

This article is devoted to the analysis of the early stage work of one of the first tragedians of the Greek theatre. Aeschylus is called the father of tragedy since he trans­formed the original theatrical performance with one actor and the cantata choir, re­leased solemn choral lyric poetry from the dithyrambic genre to a full­fledged drama. Aeschylus was first to realize the importance of a dramatic conflict for the show on the stage of the heroic mythical legends. He introduced a second actor to make this show possible. The dramatic conflict was initiated and resolved in front of the audience, involved them in the action. Aeschylus gave the audience the possibility of empathy to heroes of the tragedy in their thoughts and doubts before they act the way it was known from the mythical stories. The title of the article when Aeschylus was chosen by God Dionysus to whom the plays were devoted on the Great Dionysus feast in Athens, proceeds from the comedy of Aristophanes “The Frogs.” This Comedy is considered to be the first experience of literary criticism in Ancient Greece. In the agon of the comedy, Aeschylus and Euripides are in Hades, the realm of the dead, and are competing for the right to be the first Greek tragedian. Dionysus is concerned about the lack of the theat­rical repertoire at his feast since the great tragedians have already died. He descends into Hades to bring back the soul of Euripides but gives the primacy to Aeschylus and chooses him. Dionysus recognizes the educational significance of his tragedies “The Persians” and “Seven against Thebes”. The heroism and patriotism of the tragedies of Aeschylus are necessary for citizens of the Polis. The address to the comedy of Aristo­phanes is caused by a quotation from it in the anonymous biography of Aeschylus in his manuscripts. The biographer lists the merits of this playwright in the development of the Attic theater and leads the words of Dionysus to Aeschylus calling him “the first of the Hellenes” (Aristophanes “The Frogs”, 1004–1005). According to Dionysus as a hero of the comedy as well as the choice of Aristophanes, the tragedy of Aeschylus ex­presses the moral values of a generation of Athenians who defended the independence of the Motherland during the Greek­Persian war. For this generation of citizens, the idea of kindness and justice has the enduring value and is sanctioned, as the Greeks believed, by the gods. The author focuses on one of the earliest tragedies of Aeschylus “The Suppliants”. The conflict of the drama lies in the choice of the position of the main hero Pelasgos, king of Argos, whether he should defend king Danaus’ daughters from the claims of their suitors. The article examines various versions of the mythical story of Io wanderings and the fate of the Danaides. The author analyzes lexical and poetic means used in choral parties of this tragedy. Aeschylus in the image mode leans on the poetics and stylistics of dithyrambic cantatas. In choral songs­laments of the Da­naides, he uses tunes of birds and intertwines them with well­known myths about the transformation of heroes into different birds. In the poetics of Aeschylus, the seascape motives are presented. Since the early tragedy has still few opportunities to show the action, Aeschylus actively involves stichomythia when the characters say one or two poems. This method creates expression and tension, accelerates the action of the trag­edy. Namely in his early tragedies, more closely related to the Greek choral lyric, the tragedian chooses true poetic means to create an image of the hero and thereby lays the foundations for the drama theatre of Ancient Greece as the future theatre of Europe.