1,727,119 research outputs found
“The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion
Full text linkResearch on socially aware systems requires fine-grained knowledge of the mechanisms of persuasion in order to promote civic knowledge and aware political participation. Within humor studies, political parody is generally considered a simple pleasant weapon for political evaluation, currently explained by referring to the so called "just a joke effect" (Nabi et al., 2007). Indeed the funny side of parody can induce positive emotions, but it also includes a discrediting act that sometimes produces a "bitter laughter." The present study aims to understand the role played by negative and moral emotions aroused by parody. A parody is defined as a communicative behavior (a discourse, text, body movement, song) that imitates a communicative behavior or trait displayed by some Target by reproducing it in a distorted way, with the aim of making fun of the Target. Based on a socio-cognitive approach, a distinction is made between "surface" and "deep" parody (Poggi and D'Errico, 2013), with the former simply imitating behaviors actually displayed by the Target, and the latter implying a (humorous) re-categorization of the Target. The paper studies the effect of these two different types of parody on persuasion processes. Results show that the deep parody, as opposed to surface parody, triggers more negative emotions, and in particular indignation, that in turn lead to more negative evaluations of the Target. Moreover, the moral priming of parody is influenced by the Target politician's gender
Anna D'Errico, Pianist Program (2004-03-11)
No full textUniversity of Minnesota Duluth. Department of Music. (2004). Anna D'Errico, Pianist Program (2004-03-11). Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/261217
Social Influence, Power, and Multimodal Communication
No full textSocial Influence, Power, and Multimodal Communication reveals how democratic leaders and dictators exploit multimodal communication to convince or seduce their audiences, using words, voice, gesture, face, gaze, and posture to boast about their merits or insult and ridicule rivals. Poggi and D'Errico explore questions such as what is charisma, and how do we perceive it in a leader? And how do politicians display their dominance over opponents, or discredit them in TV debates and social media? Starting from a sociocognitive model of social interaction, observational studies reveal the rhetoric of words, hands, and faces, explaining how to see beyond their literal meanings, while experimental studies test their uses and persuasive effects. The authors affirm that multimodality helps others to influence us through displays of dominance, and by undermining our power through comments, insults, irony, ridicule, and parody. The devices of social influence and its multimodal management are illuminated, giving readers insight into how people influence others' lives by using body language and verbal communication, either explicitly or in subtle but inexorable ways. This fascinating text is a superb resource for students of psychology, communication, pragmatics, and political sciences, as well as for school teachers, politicians, spin doctors, active citizenship workers, and anyone seeking to understand how communicative power is managed, both in politics and everyday social contexts
The Production of Pecorino Cheese in the Roman Countryside from the End of the Nineteenth Century until the 1930s
No full textPecorino cheese has been made for centuries in the Agro
Romano, and was the result of a complex production chain that began
with the requirement of winter pasture lands for sheep flocks from the
Central Apennine mountains and ended up in the city, where urban
groceries seasoned the cheese before selling it. Towards the end of the
nineteenth century, Pecorino romano rose to become one of the most
exported Italian cheeses thanks to a combination of factors occurring
beyond the local context, such as the increase in demand represented by
Italian emigrants abroad and the abilities of wholesalers and exporters. At
the same time as Pecorino was cementing its position in the international
market, its production base was extended to Sardinia thanks to the arrival
on the island of dairy experts from Latium. While production in Sardinia
left behind its pastoral origins to take on industrial characteristics, sheep
farmers in Latium continued to produce Pecorino using traditional
techniques; the decline of cheese production in Latium only began
after the transformation of the Agro to arable land and the consequent
disappearance of the migratory syste
BOOK LAUNCH - THE TROPICAL UTOPIA: KHARTOUM, BY MARINA D'ERRICO
No full textMarina D'Errico will present her book "The Tropical Utopia : Khartoum - British colony, 1898-1910" on Thursday 11th February at 7:30 PM in the Swedenhouse , The International Park.
BOOK LAUNCH - THE TROPICAL UTOPIA: KHARTOUM, BY MARINA D'ERRICO
No full textMarina D'Errico will present her book "The Tropical Utopia : Khartoum - British colony, 1898-1910" on Thursday 11th February at 7:30 PM in the Swedenhouse , The International Park.
Corrado D'Errico e l'evoluzione del Cinegiornale Luce
Full text linkLa tesi prende in esame i cinegiornali diretti dal giornalista-cineasta Corrado D'Errico dal marzo 1940 al settembre 1941.
Lo studio si divide in tre parti. La prima si concentra sulla vita professionale di D'Errico, partendo dalla sua attività come giornalista, che lo porterà all'approdo nel teatro prima e all’esordio nel cinema poi. In conclusione vengono posti in relazione due film chiave del cineasta romano: Stramilano (1929) e Il cammino degli eroi (1936).
Nella seconda parte si introduce il lettore nelle attualità dell’Istituto Luce. I primi due sottoparagrafi sono dedicati alle prime due serie del Cinegiornale Luce (A e B), per poi passare ai lavori iniziali di D’Errico all’Istituto: ovvero consulente tecnico e artistico del cinegiornale, e direttore della Rivista Luce.
Nella terza e ultima sezione si analizza la terza serie del Cinegiornale Luce (C ), quella diretta dal giornalista-cineasta romano, passando in esame i contenuti e le caratteristiche di tutte le pubblicazioni.
In conclusione si può affermare come D’Errico svolse all’Istituto Luce, e più in particolare alla direzione dei Cinegiornali di guerra (C ), un ruolo prettamente giornalistico nel quale risultarono fondamentali le sue competenze cinematografiche
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