Scripts

Scripts have their own distinct function. Several authors have mentioned that the early development of all Indian scripts were either from Brāhmī or Kharoṣṭhī. The Brāhmī script was developed under Semitic influence around 7th c. BC and was originally written from left to right. Whereas the Kharoṣṭhī script whose direction of writing is in Aramaic, from right to left, came into being under Persian rule during the 5th c. BC in northwest of India. In the later centuries, Brāhmī gave rise to eight varieties of scripts from early Mauryas to Gupta ruling period which were employed for writing during 4th c. BC to the 6th c. AD.
We know that the ancientness of the Indian language is being proved from its soil which says about two types of language form, i.e. spoken and written. The spoken form of language is expressed in two ways. One preserved through folk forms and the other preserved through cave and rock paintings. The songs sung at the time of birth, death and work conditions are preserved; stories were painted through cave paintings which represent the creativity of literature. The inhabitant of this land stated to drawn this language at about forty thousand years back in Upper Palaeolithic Period.
There is a need to evaluate the new trend towards assigning a later date of origin for the Indian scripts in the light of broader historical and cultural prospective. After the discovery of extensive urban civilization in Indus Valley, some scholars indicate that the Indian Script is established around 2500 BC. Recent analyses of the signs available in the inscriptions have led several scholars to view that the language is not belong to Indo-European family, nor it is close to the Sumerians, Hurrians, or Elamite, nor it can be related to the structure of the Munda languages of modern India. Most probably it is a developed from Rock Art which found in various part of India.
This paper critically reviews the historical and contemporary ideologies on the origin and development of Indian scripts and establishes that the Indian scripts are mostly and clearly related to the cave arts as existed in our primitive to modern Indian architecture. So it implies that the Cave arts are the forerunners of Indian Scripts.

Keywords: Indian Scripts, Brāhmī, Kharoṣṭhī, Indus Valley Scripts, Cave Arts, Odisha Rock Art Scripts, Indian Architecture.

In 1998, in a paper in which he explained the mechanisms used in Hollywood to divide the revenue generated by feature films among different stakeholders, Mark Weinstein (1998) argued that only ten to twenty percent of these projects actually were showing a positive figure under the heading “net profits”. Ten years later, the United Nations (2998) also acknowledged that; as it was widely recognized, yet without mentioning any empirical study that might corroborate the use of such a precise figure, only 20 percent of movies were making a profit. Moreover, as this report informed, the surplus generated by these extremely successful projects was so large that it offset the cumulated losses generated by the remaining 80 percent of feature films. The implications of the existence of uncontested and long lasting belief about the high risks that companies in the filmmaking business have to face and overcome, should not to be neglected: when policy makers accept that the outcome of a movie is highly unpredictable and the gap in terms of income between a success and a failure can be substantial, they are also more inclined to accept concentration in this sector as a way to reduce risk and increase investments. Epstein‟s book “The Hollywood Economist: The Hidden Financial Reality Behind the Movies” does not reveal what percentage of feature film is likely to pass the break-even point, nor it denies that filmmaking can be a risky business in financial terms. The main contribution to knowledge from this book comes from his explanation of the financial practices of the producers-distributors that are now part of the largest info-entertainment conglomerates and are the descendent of the major Hollywood studios (i.e. the „Majors‟). After reading this book, the reader will understand that making movies for these companies and for the conglomerates they are part of, is a rather stable, low-risk and very profitable activity.

This chapter aims to present mental representations by seven audiovisual specialists on Sirena, the antagonist of a noir fictional story in a multilinear interactive short film script. To this end, a reception study was created with in-depth interviews with specialists after reading the script to discuss its several aspects. This approach is of qualitative character. The study was conducted between June and October 2015 in São Paulo, Brazil. It is possible to perceive that participants have interpreted the character differently in spite of its consistent build. We could verify that the mental representation of the antagonist was aided by the world-view and experience of each interviewed specialist, which has led to unique readings of the character.

The present study uses qualitative methods to analyze and restore an invented missionary writing system for the Shanghainese language, and uses the restoration to check for historical sound change. The project consists of two parts: the analysis and restoration of the orthography and the confirmation of historical sound changes in Shanghainese. The restoration of the writing system provides all symbols with equivalent International Phonetic Alphabet (IPA) symbols. Following the restoration to IPA is an explanation of the rules for combining initial and final symbols to form a single character, as well as rules for tonal distinction. The analysis of the restored orthography compares its development with the academic criteria for orthography development, and finds that it is a sound writing system. The evaluation also reviews the sociolinguistic criteria crucial for orthography acceptance, and shows that the writing system does not meet these criteria in present day Shanghai. The results of the check for historical sound change confirm that many of the sounds not found in present day Shanghainese existed in this writing system. The phones found in this writing system are able to confirm the disappearance or merger of various sounds in Shanghainese since the mid 19th century. Overall, the study shows that the invented writing system is sound, but would not be accepted in Shanghai today. However, it should be reviewed by other linguists as having the possibility to represent other languages.

Roughly two decades ago, the expression « cougar » surfaced in popular language as a term used to describe women engaging in intimate relationships with younger men. Drawing on 55 semi-structured interviews with women aged 30-60 who date younger men, the author explores the way these women imagine the « cougar » and the reasons why they chose to identify as such or reject that label. Results show that very few women like being associated with that expression, and that their position is largely influenced by gendered normative expectations found in the traditional cultural script for heterosexual sex. Furthermore, she shows that ageism complicates the renegotiation of gendered norms regarding sexuality that women who date younger men must do in order to present themselves as emancipated sexual subjects while also avoiding potential stigma.

Plantilla desarrollada a partir de experiencias de producción transmedia realizadas por el equipo de la Dirección de Comunicación Multimedial de la Universidad Nacional de Rosario (#DCMteam): "Tras los pasos de El Hombre Bestia" (2013) y "Mujeres en venta" (2015); así como la revisión de modelos propuestos por Gary P. Hayes  (2012), Robert Pratten (2001 y 2015), Fernando Acuña y Alejandro Caloguerea (2012) y Carlos Scolari (2014) .

The past few decades have witnessed an aesthetic trend in the Arabic Writing System and its well-known
calligraphic arts, which have exploited features of other writing systems, including Latin and Chinese scripts.
Although there are great differences between almost every aspect of the Arabic and Latin scripts, this trend has
blended certain characteristics of Arabic script with some features of Latin script.
This study examines this trend and its experiments and transitions, from the moment it first emerged until the
present day. It investigates the motivations underpinning the trend and analyzes its artistic and linguistic
characteristics, in which the researcher visually analyzes all possible details and disassembles both orthographic
items and calligraphic features into their basic essential scripts. The findings reveal an aesthetic and linguistic
trend that is substantial and significant, based on linguistic, cultural, and sociocultural factors, including
increased levels of communication, culturalism, advances in technology, transportation, migration, and
globalization. Script tools and features are used to divide the main trend into three sub-trends: 1) Script
switching, where scripts are interchanged at word-level; 2) Script fusion, where scripts are altered at letter-level;
and 3) Faux fonts, which dissolve certain features of Arabic script to mirror Latin script. All of the techniques
used to make Arabic script match Latin script have been shown to be culturally-induced and linguistically
informative, rather than merely aesthetic. The findings of this study also indicate that this new phenomenon is
likely to be in the early stages, with further developments expected to unfold in future.

Pekat penghujung malam telah nyaris purna. Pagi berjaga-jaga di ujung batas cakrawala. Di sebuah bingkai jendela raksasa, dua siluet bayang-bayang manusia ditempa sisa-sisa cahaya malam kota. Di ketinggian gedung yang mencakar langit-langit kota, dua manusia merancang alasan-alasan tentang cinta.

Arabic script remains one of the most widely employed writing systems in the world, for Arabic and non-Arabic languages alike. Focusing on naskh—the style most commonly used across the Middle East—Letters of Light traces the evolution of Arabic script from its earliest inscriptions to digital fonts, from calligraphy to print and beyond. J. R. Osborn narrates this storied past for historians of the Islamic and Arab worlds, for students of communication and technology, and for contemporary practitioners.

The partnership of reed pen and paper during the tenth century inaugurated a golden age of Arabic writing. The shape and proportions of classical calligraphy known as al-khatt al-mansub were formalized, and variations emerged to suit different types of content. The rise of movable type quickly led to European experiments in printing Arabic texts. Ottoman Turkish printers, more sensitive than their European counterparts to the script’s nuances, adopted movable type more cautiously. Debates about “reforming” Arabic script for print technology persisted into the twentieth century.

Arabic script continues to evolve in the digital age. Programmers have adapted it to the international Unicode standard, greatly facilitating Arabic presence online and in word processing. Technology companies are investing considerable resources to facilitate support of Arabic in their products. Professional designers around the world are bringing about a renaissance in the Arabic script community as they reinterpret classical aesthetics and push new boundaries in digital form.

Dieses Buch stellt die erste umfassende wissenschaftliche Auseinandersetzung mit der Graphetik dar – jenem interdisziplinären Forschungsfeld, das die Form und Materialität von Schrift untersucht. Neben einer kritischen wissenschaftsgeschichtlichen Darstellung der wichtigsten Beiträge zentraler Vertreterinnen und Vertreter werden relevante Definitionen gesammelt und diskutiert. Ein vorgeschlagenes Modell rückt graphetische Beschreibungsebenen und Einheiten in den Fokus, bevor schließlich der perzeptive Aspekt von Schrift beleuchtet wird und Konzepte wie Leserlichkeit und Lesbarkeit besprochen werden. Ein programmatisches Fazit samt Desideratakatalog wagt zuletzt einen Blick in die Zukunft der Graphetik.

Some recent studies have reported how call centers employ low-skilled workers and how agents work robotically using scripts when assisting customers on the phone; other studies have focused on how they need to be “native speaker”–like in their language fluency when serving customers; and yet others talk of the repressive nature of the industry where agents become emotionally, culturally, and linguistically exhausted, exacerbated by the prescriptive and highly regulated use of scripts at work. While acknowledging that the use of scripts in call centers can result in agent disengagement and customers feeling they are talking to robots, this is not the complete story. This study aims to report on the use of scripts in the global call center industry, which may place their use in a more positive light.
After first defining what is meant by “scripting” in this context, two case studies are reported on where line managers and agents found script use to be helpful in a number of ways. The first case study uses data gathered in an offshored monolingual call center in Manila, and the second study uses data gathered in
a multilingual call center in London. How both managers and agents use scripts and how they perceive them are the focus areas of this study, and while arguably there are a number of problems with this practice, there are also self-reported benefits in supporting effective communication and positive business outcomes in the call centers.

Cette étude a le but d’analyser les idéologies des spectateurs, la manière de percevoir des commentateurs de la représentation d’un nom historique au fond d’écran avec des images sensationnelle utilisant des sources appartient des différents classes sociales. Le Siècle Magnifique est analyse de contenu des commentaires dans un journal et un site officiel d’une série télévisée qui ont des idéologies différentes. Cette analyse concerne 20 commentaires choisis entre la date du 5 janvier 2010 et 10 Janvier 2010 du journal Radikal et le site: www.muhtesemyuzyil.gen.tr

Esta segunda versión de la Plantilla para Diseño de Narrativas Transmedia mantiene algunos elementos propios de la versión anterior (2016), considerados la línea de base para la evolución hacia la nueva propuesta. Se conserva la organización a partir
de cuatro nodos principales en la secuencia de diseño: el mundo narrativo, las experiencias de usuario, las plataformas y la ejecución del proyecto. Sin embargo, se incorporan nuevos recursos, en particular para la identificación y desarrollo de personajes, la definición de formas de participación de los usuarios, la especificación de funciones narrativas para las plataformas seleccionadas y la conformación de equipos de producción.

Phronetic organizational research is an approach to the study of management and organizations focusing on ethics and power. It is based on a contemporary interpretation of the Aristotelian concept phronesis, usually as ‘prudence’. Phronesis is the ability to think and act in relation to values, to deliberate about ‘things that are good or bad for humans’ in the words of Aristotle (1976:1140a24–b12). Phronetic organizational research effectively provides answers to the following four value-rational questions, for specific problematics in management and organization studies: 1. Where are we going with this specific management problematic? 2. Who gains and who loses, and by which mechanisms of power? 3. Is this development desirable? 4. What, if anything, should we do about it?

"“You’ll never get away from me. Wherever you look, you’ll find one of my ads centre stage. I forbid you to be bored. I stop you thinking. The terrorist cult of the new helps me to sell empty space” (Beigbeder, 2002). Chillingly cynical as they are, these words spoken by Octave Parango, alter ego of the notoriously polemical French author and literary critic Frédéric Beigbeder before he was fired from Young & Rubicam following the publication of 99 Francs, at once capture the tone of the book from which they spring, but also tap into a rather more complex cultural discourse.

Indeed, inserting itself in a lineage deriving from Marsha Kinder’s pioneering study on transmedia stortytelling Playing with Power in Movies, Television, and Video Games: From Muppet Barbies to Teenage Mutant Ninja Turtles (1991) and comprising Bolter and Grusin’s ‘double logic of remediation’ (1999) as well as Henry Jenkins’ seminal work on Convergence Culture: Where Old and New Media Collide (2006), 99 Francs (2000) bridges media, genres, and creative processes in theme, but recently also by means of its underlying commercial scheme.

After all, as the best-selling contemporary French novel in France and abroad, translated in 21 languages but equally adapted to film (2007, dir. Jan Kounen) and soon available as Virtual Reality-environment on CD-ROM, Beigbeder’s book adroitly mixes fact, fiction, and even fan-culture to catch its countless critics in their own bad faith by simultaneously rejecting and embracing the hyperconsumerist culture advocated by Octave’s world of advertising agencies which it so (self-) evidently satirises. Or, as he himself put it, “I’m three trends ahead, and I make sure you’re always frustrated” (Beigbeder, 2002).


WORKS CITED:

Beigbeder, Frédéric. £9.99. Trans. Adriana Hunter. Basingstoke: Picador, 2002.

Bolter, Jay David with Richard Grusin. Remediation: Understanding New Media. Cambridge: MIT Press, 1999.

Kinder, Marsha. Playing with Power in Movies, Television, and Video Games: From Muppet Barbies to Teenage Mutant Ninja Turtles. Berkeley: University of California Press, 1991.

Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU Press, 2006.
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Galtung, J. & Vincent, R. C. (1992).  Global Glasnost: Toward a New International Information/Communication Order?  Cresskill, NJ: Hampton Press, Inc. [ISBN 0-881303-331-4 (cloth) — ISBN 0-881303-332-2 (pbk.); P96.I5G35 1992]


                            Abstract


This book is about a major process of our times:  the New World Information and Communication Order (NWICO).  The authors contend that the process was formally derailed because of First World resistance and an inability of Third World nations to agree on a common set of objectives and implementation methods.  The book is an effort to look into the background for the process, as it has unfolded.  It is also an effort to spell out what NWICO might mean, in concrete terms, in four major international news communication themes—peace, development, ecology and war—in a quest for a new global journalism which is problem-conscious, socially conscious, and at home in the world as a whole.
Global Glasnost begins by examining global cause-effect chains, and then attempts to locate some of them on a world political map.  The many possible relationships of such a classificatory scheme, and the associated possibilities for change in news communication within the old or new world information and communication order (NWICO), are the subjects of the first chapter.  It is concluded that there is little doubt that a quantitative transformation has been taking place, with somewhat less relative emphasis on the former Center and somewhat more on the former Periphery.  It is difficult to tell, however, whether this is being accompanied by a similar qualitative transformation, changing the character of what is regarded as news itself.  Furthermore, while communication has become more relevant to global problems than ever before, it may also have become increasingly counter-productive.  A vast array of detached space/time events or "atoms" have been seemingly presented as news constitutes a set of events, not a set of problems.  These notions are developed and explored.

The book then turns to a detailed exploration of the research environment in which news flow and international news content has been examined via both qualita-tive and quantitative research techniques.  Prior research is criticized for its failure to look beyond the superficial "flow" of news items, and instead examine deeper themes and messages.  The authors argue that through newer approaches to news analysis, our understanding of international news would benefit.  Another feature is an expanded discussion of the news structure paradigm first introduced by Professor Galtung in 1961.

Global Glasnost goes on to examine the NWICO concept, as it has unfolded.  This is done by thoroughly reviewing U.N./UNESCO conferences, assemblies, discussions and symposia, and various non-aligned movement, government and media organization actions as they pertain to communication from 1946 to the present.  We can see some of the complexities, at the macro level, of the relationship between economics and information-communication within the new international order.

The final chapters of the book are an effort to say something concrete about a new global and human journalism for four major issue-areas: peace, development, environment, and war reporting, with the latter including major discussion of the Persian Gulf War.  The authors explore various trends found in reporting on these topics, and provide a journalistic agenda for future newswriting.  A "high quality" news media, it is argued, would give more attention to periphery people in periphery countries, to how structures operate day in and day out, and to reporting positive factors.  Also included in the complex and comprehensive analysis are many observations on the state of journalism, its relationship with elites, and the education of journalists.

Professors Galtung and Vincent conclude that whereas the old interna¬tional order was grounded in much economic exchange—with exploita¬tion, and not much dialogue—an attractive alternative may be greater dialogue with less economic exchange.  Yet a new global journalism is still far away.  The most likely "development" will be based on much rhetoric that sounds like dialogue and on the structure of the old international economic order, only located at new places.  In short, little progress will be made toward global and human journalism.  The structure of news has been sliding and jumping all over the globe, but the product has remained basically the same.

Desert Island Discs reveals much about the BBC's early approach to the radio interview. The radio programme calls for its audience, the host and a 'castaway' to engage in a fantasy where guests are invited to preselect musical records to accompany them on a fictional desert island. This concept acts as a vehicle in which the host asks questions or makes statements about the significance of these records, in order to unearth the private motivations of a public figure. This has proved itself as a predictable, reassuring and innovative format that all parties must commit to. This article addresses the first decade of the programme, where all interviews were scripted. Studying the origins of this series allows us to cast some assertions on the ways that scripting was used to communicate and mediate a host's persona and an interviewee's past and personality. The use of scripting was intended to create a sense of informality, humour and theatrical drama. Contextualizing these types of scripted exchanges further informs our understanding of the radio interview within our mediated cultural heritage.

Objetivo: Se pide crear un script que realice el respaldo del directorio etc  que guarde su información en otro directorio llamado etc.backup ubicado en /home/carlos/
Esta operación de respaldo deberá llevarse a cabo cada día lunes a las 7:00 A.M.