When attention is paid to the ways characters perform and are performed in anime narratives, it becomes apparent that there are certain regularly utilized approaches to the character acting widespread in anime’s animation. Two of the most prominent modes of performance have been called embodied acting and figurative acting. Each uses distinct techniques to act out a specific character’s personality and, in the process, imply different notions of selfhood. This chapter examines the specific utilization of embodied and figurative acting in Yūri!!! on Ice and how these interrelated modes of performance dovetail with the narrative. Through its balancing of embodied and figurative modes of performance, the anime moves between an individualized self whose interior is expressed externally and an open acknowledgment of the interrelation of external others in the performance of self and gender.

Within the last two decades, the specialized term “chara” has gained recognition for denoting fictional beings that seem typical for Japanese popular media. Usually, a distinction is made that charas – distinguished from “characters” – are somehow independent of the narrative. Since the term emerged in a variety of different discourses, however, it serves many contradictory functions. This chapter maps different ways to conceptualize the protagonists of Japanese popular culture as charas with regard to the popular franchise Demon Slayer (Kimetsu no Yaiba). It introduces four relevant oppositions: “consequentiality versus cartoonishness,” “representational realism versus ludic realism,” “narrative consumption versus database consumption,” and “authorized works versus secondary productions.” What connects all these vastly different meanings of charas and the respective “other sides of narrative” is a shared interest in characters not as parts of closed, fictional stories or worlds but as nodal points of historically changing media practices and conventionalized modes of imagination and participation.

This chapter examines how essayistic personae enabled writers and readers to understand personhood as a means of making a unity out of multiplicity. It draws on Thomas Hobbes’s theory of the person to track how essayistic personae both depicted corporate personhood and themselves served as corporate persons, allowing many writers, real or imagined, to write as one. It also uses Locke’s theory of personhood to show how essayistic personae present conscious persons as contingent unities imposed upon multitudinous thoughts and experiences. Essayistic personae not only extended personhood to non-human beings, such as corporations and animals, they also drew attention to the limited nature of personhood for many human beings, including married women and enslaved people.

This chapter examines Harriet Martineau’s approach to gender politics through her understanding of ‘manliness’ as explored in a selection of her Illustrations of Political Economy (1832−4). It was a concept essential to her configuration of male leadership fit for the testing times of the early 1830s, and highly topical. Published when the pressures experienced by men of all classes were being highlighted in periodicals and novels, the tales address the differences between ‘personality’ and ‘character’ in crises faced by fathers and husbands, magistrates and petty criminals, trades union activists, landowners, and slave-owners, at home and in the colonies, as they debate the injustices of their living and working conditions. This chapter argues that Martineau’s interventions in contemporary debates about masculinity shift the focus to a new kind of conscientious working man whose values are tested in cross-class dialogues in public places. It explores the ways in which the Illustrations show how men collaborate and compete within their communities, and the ambiguous gender messages arising from patterns of reward and punishment that seem to devalue otherwise positive characteristics.

Storytelling is the magic ingredient for ensuring your messages make an impact and are remembered. But, to work well, stories require certain ingredients, including a classic narrative structure, jeopardy, pace and the use of character in telling them.

The feeling of shame (aischunē) is a dramatic key of the Gorgias, notably revealed by Callicles, who accuses both the master of rhetoric Gorgias and Polus of surrendering to Socrates’ refutation out of shame, before yielding himself to the feeling he declared himself immune to. But shame is not only a literary pattern in the dialogue: its function is closely connected to the kind of refutation of each interlocutor. It can be minimally said that shame is a natural effect of refutation, and optimally that it is an essential lever for Socrates to make his interlocutors acknowledge their deep moral commitments. This chapter aims at distinguishing several levels, rather than kinds, of shame among the interlocutors of the Gorgias: shame as sensitivity to others’ opinion, shame as an indication of the beliefs and values we are committed to, and shame as a potential step towards a better understanding of the real good. Though these levels sometimes overlap in the narrative, such distinctions may aid in understanding the role of shame for each interlocutor. Shame remains, for Plato, an ambiguous emotion, which must be used in a certain way to perform purification of wrong opinions.

How to remember your new skills, and what to do with them.

This is an introduction to representation theory and harmonic analysis on finite groups. This includes, in particular, Gelfand pairs (with applications to diffusion processes à la Diaconis) and induced representations (focusing on the little group method of Mackey and Wigner). We also discuss Laplace operators and spectral theory of finite regular graphs. In the last part, we present the representation theory of GL(2, Fq), the general linear group of invertible 2 × 2 matrices with coefficients in a finite field with q elements. More precisely, we revisit the classical Gelfand–Graev representation of GL(2, Fq) in terms of the so-called multiplicity-free triples and their associated Hecke algebras. The presentation is not fully self-contained: most of the basic and elementary facts are proved in detail, some others are left as exercises, while, for more advanced results with no proof, precise references are provided.

There are certain foundations of effective communication, and all are revealed and explored in this chapter. They are: clarity, brevity, simplicity, authenticity, and – sometimes surprisingly – humility, or the power of listening.

The chapter locates Pirandello’s characters against the backdrop of modernist culture. Beginning with Baudelaire, Rimbaud, and Nietzsche’s reflections on the multiple nature of the “I,” Pirandello’s construction of his characters proves fully in tune with contemporary developments in European thinking. When dealing with such fictional characters as Mattia Pascal and Vitangelo Moscarda, Pirandello goes for an anti-heroic approach to their relationship with history as opposed to nineteenth-century Romantic heroism. Theatre characters, on the other hand, escape definitions and roles to the extent that they become Nobody, following in the footsteps of Dostoevsky, Binet, and Blondel’s reflections on psychology and freedom.

This chapter explores some central features of morality in terms of what are commonly regarded as virtues. A virtue is a disposition that is an important feature of one’s character. As such, a virtue endures over an extended period of time, not just for a brief moment. Still, a virtue such as honesty implies its regular exercise. However, one can occasionally behave dishonestly without this undermining its standing as one’s virtue. The notion that some emphasis on basic moral virtues should be included in K-12 and college education has long received strong public support. However, there has also been widespread disagreement about just how this should be done and with what ends in mind. Presumably, some general uncertainty, if not disagreement, about the nature and foundation of morality accounts for much of this. This uncertainty is discussed in terms of reasonableness.

This Chapter discusses some of Galen’s technical works, especially those dealing with physiological psychology to show that Galen’s resourceful combination of popular philosophy and medicine is intended to promote mental alertness in his readers in various aspects of their personal and social lives, such as the symposium or the area of maintaining good health (hygiene). The control of emotions and the social embeddedness of ethics that Galen emphasises in these passages while at the same time describing the physical basis of character formation, make him stand out from other medical authors inasmuch as they reveal his proposed vision of a moral form of medicine.

This chapter shifts the focus from principle to pragmatic concerns. It starts by considering a number of pragmatic maxims that apply to the enforcement of morality. These maxims limit the relevance of the more abstract principles discussed in this book and will suggest to some that a better approach would start first with the maxims and consider principles only when necessary. This chapter indirectly defends the principles-first approach adopted in this book by outlining what would be lost if this rival maxims-first approach were pursued. The chapter then turns to the problem of overcriminalization, to which the ethical environmentalism defended in this book may seem to be especially vulnerable. This problem points to the importance of identifying alternative enforcement methods to the criminal law, and the importance of comparative assessments of legal and social enforcement mechanisms. The chapter concludes by discussing the social fact of intractable disagreement over the content of morality in modern societies, and the limits, as well as the benefits, this fact presents to the project of ethical environmentalism.

This section consists of excerpts from Aristotles Rhetoric in which Aristotle discusses the three modes of persuasion (ethos, pathos, and logos) and of speeches illustrating each mode. There are three speeches that illustrate how one may be persuasive by appealing to passions (pathos), three that appeal to the good character of the speaker (ethos), and two that appeal to rational arguments (logos). The speeches range from the fifth century BC to the twenty-first century of our era.

There is no getting around the fact that we live in a social and cultural environment and there is no denying the fact that the laws of our society deeply affect its character. From the fact that law impacts the environment of those who are subject to it, it does not follow that legal officials should attempt to improve its ethical character. This chapter presents a presumptive case for why legal officials are not only permitted but also have a duty to do so. Ethical environmentalism is the political project that aims to satisfy that duty. After clarifying the notion of an ethical environment, and relating it to the aspirational ideal of the common good of a society, the chapter argues that ethical environmentalism is supported by considerations of fairness. The relation between fair treatment and neutral treatment is then explored and clarified. Ethical environmentalism presupposes a public/private distinction. The shared public world, as contrasted with the private thoughts and activities of individuals, defines its scope. With that in mind, the chapter distinguishes two forms of legal moralism, character-centered and status-centered, and discusses how each form relates to the project of ethical environmentalism.