Pour un statut sémiologique du personnage

Hamon, Philippe

doi:10.3406/litt.1972.1957

Cited by 115 publications

(32 citation statements)

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“…When virulently antitechnological, they promote a neo-primitive way of life, as with Jean Hegland"s Into the Forest (1996), but when less intensely anti-technological they can encourage consideration of alternative structures for civilization, such as Ernest Callenbach"s Ecotopia (1975) and Scott Russell Sanders"s Terrarium (1985) (Murphy, 2009: 376). 27. Homo"s departure from the city, after the representatives of the System agree to this, is to some extent similar to the departure of the hero (Alvin) in the novel The City and the Stars (1956) by Arthur C. Clarke.…”

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confidence: 74%

“…An author chooses his characters" names to accord to his or her artistic considerations and having, of course, full understanding of the narrative work (Baḥrāwī, 2009: 247;Ḥamdāwī, 2010). Philippe Hamon (1972) believes that the proper noun is the main clue to the character, because it reveals the character"s attributes and its semiotic components, and eases the mission of reading.…”

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confidence: 99%

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Al-Sayyid Min Ḥaql Al-Sabānikh: Personal Freedom Versus Mechanical System.

Asaqli¹,

Masalha²

2018

IJAR

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confidence: 74%

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confidence: 99%

Al-Sayyid Min Ḥaql Al-Sabānikh: Personal Freedom Versus Mechanical System.

Asaqli¹,

Masalha²

2018

IJAR

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“…Such a movement concerns a rational or emotional value of the character. As we will illustrate, in Drammar, the drama direction is a change function that transforms the initial state of a character into a different final state at the end of the drama [14,16]. Such states are defined through values as-signed to a number of attributes, or dramatic qualities of the characters.…”

Section: Drama Analysismentioning

confidence: 99%

Formal Encoding of Drama Ontology

Damiano¹,

Lombardo²,

Pizzo³

2005

Lecture Notes in Computer Science

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Abstract. The goal of this research is to lay the foundations for a formal theory of drama, that abstracts from the procedural and interactive aspects involved in the generation of dramatic content. Based on the structural accounts provided from traditional drama analysis, the theory proposed in this paper exploits an agent-based perspective on characters to provide a goal-based characterization of dramatic qualities. MotivationsSince the advent of digital media, character-based, narrative forms of communication have become commonplace in human-computer interaction, including user interfaces, entertainment, and education [1,2,3,4,5]. The need for autonomous behavior required by these applications has led scholars to adopt the agent techniques developed in artificial intelligence research to define and implement the virtual characters [6]. As applications have evolved into multi-character, interactive systems, the need for a centralized management of the plot execution has been realized by AI techniques for multi-agent coordination and cooperation [7,8].While the main effort of system developers has addressed the use of AI techniques in the production of interactive storytelling applications, designers have relied upon the widely acknowledged corpus of drama studies -from Aristotle's investigations to structuralist approaches -to characterize the dramatic qualities of virtual narratives. However, there is still lack for computational theory that exploits the conceptual tools of AI to characterize the principles of drama. The aim of this paper is to lay the foundations of a formal theory that systematizes the basic aspects of drama in a direct and explicit model, with an immediate integration with agent-based theories. The theory, called Drammar, abstracts from the procedural aspects of drama generation, and is intended as the starting point for specifying, implementing and evaluating practical storytelling systems in a principled way.Drammar is structured into two levels (see Figure 1). The actional level models the intentional behaviour of the characters in a plot by enforcing a BDI perspective on characters as intelligent, goal-directed agents: following Bratman's theory of practical reasoning [9], belief-desire-intention (BDI) agents form goals to pursue their desires, and, given their beliefs about the world, devise plans to achieve them. This level is augmented with a representation of emotions as provided by the OCC model [10]. The directional level accounts for the realization of a direction through the plot, by abstracting from the intentionality of the characters through the use of attributes that model the effect of plot incidents onto the characters' (i.e. agents') mental and emotional state.

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“…La méthode utilisée s'inspire de la théorie sur le statut sémiologique du personnage, développée par Philippe Hamon (1977). Elle repose sur l'assertion que le personnage constitue en lui-même un signe concret, porteur d'une signification abstraite.…”

Section: Pas Pire De France Daigle François Giroux Université De Monctonunclassified

Sémiologie du personnage autofictif dans Pas pire de France Daigle

Giroux

2004

Francophonies d'Amérique

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Pour un statut sémiologique du personnage

Cited by 115 publications

References 0 publications

Al-Sayyid Min Ḥaql Al-Sabānikh: Personal Freedom Versus Mechanical System.

Al-Sayyid Min Ḥaql Al-Sabānikh: Personal Freedom Versus Mechanical System.

Formal Encoding of Drama Ontology

Sémiologie du personnage autofictif dans Pas pire de France Daigle

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