Conceptualizaciones del cambio como concepto y categoría. El autor reflexiona sobre el concepto de cambio desde su naturaleza semántica y de categorías, hasta las diversas dimensiones y escenarios de manifestación: biológica- evolutiva, filosófica, psicológica, social, social- comunitaria, cultural, científico- tecnológico, política, económica e histórica; en cada una destaca enfoques predominantes.“Todo cambia, nada está fijo, todo fluye, todo está en movimiento”” El “cambio” es lo único estable, es lo único que no cambia” Semánticamente, el cambio es concepto lingüístico y, simultáneamente, categoría conceptual. Como concepto, nos ayuda a comprender el significado y sentido de la idea recogida y enlazada en el nombre que damos al objeto nombrado, sirviendo como herramienta cognitiva. Los conceptos son creados por el ser humano, mediatizados y estructurados por el lenguaje y producto de nuestra capacidad de pensamiento abstracto. Su naturaleza no debe ser fija, pues, siendo construcciones cognitivas sociales, intenta reflejar y aprehender la realidad percibida que, a su vez, es cambiante y no absoluta (1) .“La función lógica básica del concepto estriba en la separación mental, según determinados caracteres de objetos que nos interesan en la práctica y en el conocer. Gracias a esta función, los conceptos enlazan las palabras con determinados objetos, lo cual hace posible establecer el significado exacto de las palabras y operar con ellas en el proceso del pensar” (2). En opinión de Prieto, citado por Gabriela de la Peña Astora (2. Nos parece apropiada esta definición. De esta forma, el concepto crea conocimiento no absoluto sino instrumental, para los fines citados: “El conocimiento conceptual consiste en un conocimiento real de las causas de los fenómenos, de las situaciones sociales, de los seres […] La relación entre los integrantes de un grupo que se funda en el pensamiento conceptual implica una comprensión del lugar que uno ocupa, la posibilidad de la crítica cuando se hace necesario, el cuestionamiento del papel que juegan los demás”. Las categorías, de otra parte, son también elementos cognitivos de apoyo al conocimiento que de forma dialéctica - con influencia aristotélica- nos permiten construir declaraciones sobre las propiedades esenciales de los fenómenos estudiados. La categoría es, en sí misma, un concepto, pero se construye más abarcadora para ampliar a la inclusión de otros conceptos que, como sistema, permiten establecer orden, relación y correspondencia entre estos. Desde el enfoque dialéctico marxista, por ejemplo, las categorías establecen relaciones entre el fenómeno y la historia, es decir: “…se encuentran en determinada conexión entre sí y forman un sistema en el que no se hallan simplemente dispuestas de manera arbitraria una tras otra, sino que una se infiere de otra en consonancia con las leyes objetivas de la realidad y del desarrollo del conocimiento (Coordinación y subordinación de categorías). ABANTO ABANTO, José. [1972]. Escritor y poeta peruano, nacido en Cajamarca, miembro activo del círculo literario G’ravilla. Desde temprana edad deja manifestar su. ![]() El principio básico a partir del cual se estructura el sistema de categorías es el de la unidad entre lo histórico y lo lógico, el proceso de la cognición, que va del fenómeno a la esencia, de lo exterior a lo interior, de lo abstracto a lo concreto, de lo simple a lo complejo” (3).¿Es el concepto de “cambio” un término general y amplio al que su propia definición dinámica le aplica? Aplica el “cambio” al “cambio” mismo? Definitivamente. Convertimos esta pregunta en la hipótesis del presente ensayo: la forma en que hemos visualizado y aplicado el concepto de “cambio” ha tenido distintas atribuciones y significados en distintas épocas históricas. De igual forma, las consecuencias e implicaciones de cada uno de esos significados han producido procesos, expectativas, soluciones, problemas y metas diferentes en el devenir humano. Para tales fines, tomaremos las épocas históricas más recientes dentro de la contemporaneidad, la modernidad y la postmodernidad, como períodos de análisis para explorar las coordenadas, parámetros y axiomas en cada uno, sin pretender agotar todas las posibilidades en este trabajo.“Cambio” es… “la forma más general del ser de todos los objetos y fenómenos. El “cambio” abarca todo movimiento y toda interacción, el paso de un estado a otro. En filosofía, siempre se ha contrapuesto al “cambio” la relativa estabilidad de las propiedades, de la estructura o de las leyes de la existencia de los cuerpos. Sin embargo, la estructura, las propiedades y las propias leyes son un resultado de interacciones, se hallan condicionadas por las diversas conexiones de los cuerpos, de suerte que son engendradas por el “cambio” de la materia”. El “cambio”, como concepto y categoría, es inescapable en el tratamiento, abordaje y quehacer de la psicología en todas sus áreas de especialidad. Aunque es relevante también para otras disciplinas - concepto presente en otras disciplinas- , cobra particular protagonismo para el/la científico/a de la conducta y los procesos mentales. Sin la posibilidad de “cambio”, a nuestra disciplina no le quedaría sino plantearse su extinción como campo de investigación, acción, intervención y conceptualización. El “cambio”, como concepto de proceso, no sólo describe las transformaciones historiográficas de desarrollo en la disciplina misma relacionadas a su producción del conocimiento (5) sino que también es el objeto y meta del trabajo psicológico que realizamos sin el cual no podríamos plantearnos la transformación del ser humano en la solución de sus problemas individuales, sociales e históricos. Dicho de forma llana y sencilla: si en la psicología no creyéramos en el “cambio”, no tendríamos mucho que aportar en la ayuda y comprensión del ser humano. Desde un espectro más amplio y general, podemos afrimar que sin el concepto de “cambio”, todas las ciencias sobre el ser humano vendrían obligadas a aceptar una cosmovisión estática y estructuralmente fija, negando sus múltiples manifestaciones transformadoras. Aunque esta posibilidad de estatismo (6) fue planteada en algunos momentos de la historia, ha prevalecido la postura del “cambio” como categoría descriptora en oposición triunfante sobre lo fijo y estáticamente permanente, particularmente en la postmodernidad. Tanto es así que podemos afirmar que todo diálogo, o discusión psicológica sobre el ser humano debe integrar de alguna forma, sea como hilo conductor o como herramienta de análisis, las transformaciones procesales que la persona y su entorno social viven, producen, reciben y construyen. El “cambio” se convierte, entonces, en un concepto explicativo- descriptivo esencial, central y a veces hasta unificador dentro, desde y entre ciencias y disciplinas que, además de funcionar como hilo conductor analítico, nos permite trabajar, analizar e integrar distintas facetas y dimensiones humanas en distintos tiempos (pasado, presente y futuro) y en distintas direcciones, o niveles (lineal, horizontal y dialéctico). Así, el concepto “cambio” trae connotaciones implícitamente cargadas de multidimensionalidad en sus aplicaciones al estudio del movimiento permanente. Si el concepto de “cambio” es aceptado y compartido transdisciplinariamente, entonces ¿dónde estriba la diferencia en el abordaje del “cambio”? En que al hablar del mismo no siempre tendrá el mismo significado ni consecuencias; por tanto, hay que cualificar el “cambio” de acuerdo con sus diversas concepciones históricas- sociales, pues si bien es una categoría ampliamente aceptada, su definición (y significación) no es homogénea ni absoluta.¿Podemos considerar el “cambio” como característica inherente humana? Definitivamente. Resulta útil como atributo descriptor de su condición y naturaleza de “ser vivo” no solo desde una dimensión biológica- evolutiva (7) sino también desde su gestión como ente constructor/a en sus dimensiones psicológica, social, cultural, política, económica e histórica. La narrativa de la historia humana incluye el recuento evidenciado de esos vastos y multivariados “cambios”. El movimiento del cambio es cualidad de la vida. Ya desde la filosofía griega antigua podemos identificar el “cambio” como esa cualidad de flujo, variación, o transición vital de contingencia, que se antepone a la permanencia o a la rigidez estática de la estructura, la muerte, o la no- existencia. El “cambio”, pues, es movimiento siempre presente, como plantearía Heráclito de Efeso, en el siglo V a. Brennan, 1. 99. 9). Redacción de textos | Recomendaciones para presentar trabajos académicos, por Leonor Zozaya. Los pronombres son esenciales, pues desempeñan numerosas utilidades en el lenguaje hablado y escrito. Algunas de sus funciones son tan sencillas como fundamentales, ya que sin ellos no podríamos expresarnos. Pero otras son más originales, como hacer un juego literario. Es el caso del texto titulado Grandes pronombres de la Historia escrito por Josemi Ibarretxe (Bilbao, 1. Ibarretxe ha tenido la amabilidad de permitirme publicar en este blog un texto que me ha parecido fabuloso, para que lo comparta con todos los lectores, cortesía que le agradezco enormemente. A continuación doy paso al texto para que puedan tener el placer de leerlo. GRANDES PRONOMBRES DE LA HISTORIAJosemi Ibarretxe 2. Al principio era el Yo. Luego siguió siendo Yo, Yo, Yo, y nada más que Yo. En la riqueza y en la pobreza, Yo. En la salud y en la enfermedad, Yo. En el alfa y en el omega, en el yin y el yang, también Yo. Siempre Yo. Parecía que aquel Yo podía durar indefinidamente. Sin embargo ocurrió algo extraño. De pronto fui contratado por una gran empresa. A partir de ese momento dejé de ser Yo, para ser Nosotros. Ya no era Yo, éramos Nosotros. La situación en cuanto al Yo había mejorado considerablemente. Por lo menos ya no tenía que pensar por mí mismo. Juicios, valoraciones, qué opinar sobre esto o lo otro, ¿estoy a favor?, ¿estoy en contra? Etc. Todo arreglado. Mi Yo se había disuelto como un azucarillo entre Nosotros. Lo dicen los mejores gurús del mundo. Para llegar a la esencia del Todo hay que deshacerse del Yo. Lo malo era que no estaba muy seguro de que esa esencia tuviera Algo que ver con Nosotros. No había más que echar un vistazo sobre Nosotros. Lamentable festival del pensamiento único. Además, muy pronto comprendí que el concepto Nosotros implicaba necesariamente la existencia de Vosotros. Este nuevo elemento de la ecuación deslució un poco las maravillosas verdades universales que había atesorado durante mi estancia entre Nosotros. Desde Nosotros, no acertaba a encontrar sentido a la existencia de Vosotros. Sencillamente no encajaba ni con mi Yo, ni con Nosotros. En cualquier caso, cuando todo parecía abocado a un desenlace dramático, Algo surgió que dio un vuelco radical al escenario. Un nuevo factor acababa de repentizarse gravemente en la ecuación. Eran Ellos. Ahora las diferencias entre Nosotros y Vosotros parecían leche de grillo comparadas con el problema de Ellos. Las grietas entre Nosotros y Vosotros se desvanecen ante Ellos. Ya no hay un Nosotros y un Vosotros. Ahora ya sólo estamos Nosotros y Ellos. Esto es así. Pese a todo, entre Nosotros y Ellos no fue difícil llegar a una especie de acuerdo de bases. Extrañamente, descubrimos que teníamos muchas cosas en común. Estábamos condenados a entendernos. Lo que ya no resultó tan sencillo de asumir fue la inesperada irrupción de Aquellos. Aquellos tenían esa soberbia de la juventud, que cree que lo sabe todo.¿Iba a haber una gran masacre? Gracias a Dios, no fue así. De hecho, Aquellos se integraron entre Nosotros más rápido que Vosotros o Ellos. Esta frenética deriva de pronombres personales y demostrativos casi me había hecho olvidar completamente el recuerdo de mi viejo Yo, al que ahora añoraba. Era como aquel que viaja a otro país para aprender el idioma; no lo aprende, y encima olvida el propio. Afortunadamente allí estaban los pronombres indefinidos. Uno. Uno. O sea, Alguno. En definitiva, Alguien. Yo puedo ser simplemente Alguien, sin más.¿Había llegado al final de la búsqueda?¿Quién? Yo no, desde luego. Si Algo estaba claro era que ese Alguien en que me había convertido, no sólo no había llegado a ninguna parte, sino que muy al contrario estaba más perdido que nunca. Aquí sobrevino una apabullante sensación de desesperanza y abatimiento. Alguien tiraba la toalla. No tenía sentido seguir con aquella farsa enloquecida. Se dejaría caer allí mismo a esperar la muerte. Sin embargo, ya tumbado, Algo le molestaba en la espalda. Buscó postura. Una cosa es dejarse morir, y otra muy diferente dejarse morir incómodo y de mala manera. Además, al estar perfectamente sano, la cosa podría prolongarse mucho. Cuando Alguien, muy irritado, se levantó para morir en otra parte, descubrió bajo él un perfecto Que lleno de aristas. Era eso. Maldita sea. Justo había ido a parar encima de un pronombre relativo. Una figura gramatical que con su escueta sencillez mostraba el camino de vuelta al hogar sin engaños ni dobleces. Alguien, con un nudo en la garganta, se subió a un peñasco para otear el trecho recorrido intuyendo ya lo que iba a ver. Efectivamente, allí estaban todos los humildes pronombres relativos, señalando el sendero como las migas de pan de Hansel y Gretel. Lo curioso es que estaban dispuestos a través de territorios muy bien conocidos por todos. Nosotros, Vosotros, Ellos, Aquellos. Allí se les podía ver hasta perderse en la lejanía…El Cual…Lo Cual…Los Cuales…Quien…Quienes…Cuyo…Cuyos…Y así hasta que, por fin, esta vez sí, llegamos a. Donde. El lugar exacto. Tantas vueltas para esto. Allí estaba mi antiguo Yo de inicio, ahora casi completamente irreconocible. La gran pregunta flotaba peligrosamente en el aire.¿Quién había dejado el rastro de migas relativas? De nuevo no fui Yo, ese pequeño personaje gesticulante del fondo del cuadro. Tampoco fueron Ellos, ni Nosotros, ni Aquellos. En aquel lugar inconcebible simplemente sólo quedaba sitio para otro gran pronombre. Nadie.[1] Licenciado en Bellas Artes por la Universidad del País Vasco. Pintor, escritor, dibujante, creativo publicitario. Autor de numerosos relatos y guionista de cortometrajes, series de ficción y documentales para diferentes cadenas de TV. Guionista y codirector, junto a su hermano Esteban Ibarretxe, de la serie televisiva “Las memorias de Karbo Vantas”, y los largometrajes “Sólo se muere dos veces”, “Sabotage!” y Un Mundo Casi perfecto. Guionista en la primera época de “Vaya Semanita”, para ETB._ ¿Cómo citar este blog? Quote this blog. ISSN: 2.
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A Robot Captured Photos of What Might Be Melted Nuclear Fuel Inside Fukushima's Reactor No. One of the several brave robots to make one- way trips into Fukushima Daiichi Nuclear Power Plant’s severely damaged reactors has accomplished what its less fortunate compatriots did not, sending back photos of what appears to be melted nuclear fuel from the interior of the ruined facility. The remotely controlled Toshiba robot, which is similar in design to a submarine, managed to gain some glimpses of “a hardened black, grey and orange substance” pooled below reactor No. Bloomberg reported on Friday. Officials with Tokyo Electric Power Co. Holdings Inc. believe the substance is the remains of atomic fuel rods, which melted through and fused with other structural components of the reactor. Identifying precisely where the melted- down materials are, and what they are composed of, is critical to the ongoing Tepco cleanup efforts. Never before have we taken such clear pictures of what could be melted fuel,” utility official Takahiro Kimoto told reporters, per Bloomberg. We believe that the fuel melted and mixed with the metal directly underneath it. And it is highly likely that we have filmed that on Friday.” After the 2. Tōhoku earthquake and tsunami triggered the plant’s meltdown, over 1. The reactors at Fukushima remain extremely dangerous: In February 2.
![]() One of the several brave robots to make one-way trips into Fukushima Daiichi Nuclear Power Plant’s severely damaged reactors has accomplished what its less. No. 2 reached at least 6. Tepco robots. While the cleanup is expected to take decades and has an estimated $7. View and Download Carrier Thermostat installation, start-up, and operating instructions manual online. Carrier Thermostat User Manual. Thermostat Thermostat pdf. View and Download Carrier 50HG014-028 installation instructions manual online. Single Package Rooftop Units Electric Cooling with Electric Heat Option. 50HG014-028. ![]() CS2. PP2. S- 0. 3 - Carrier 3. CS2. PP2. S- 0. 3 - Edge Pro Commercial Programmable or Non- Programmable Thermostat. · Is there any reason why a Carrier Performance EDGE programmable Thermostat will not work with a Performance series Gas Furnace and AC unit? I recently had. ![]() A Beginners Guide to Modifying A Car. It's easy for a seasoned car guy to give advice on what he or she thinks is best when it comes to modifying your car or truck, but many times that advice is biased based on their own belief of what is best and based on what they read on their forum. What a beginner needs is advice that comes from the basics of automotive performance and what makes or doesn't make power. It's hard not to get tied up in manufacture claims, so we're going to create this guide on what every beginner should know when it comes to modifying their car for the first time, or even picking a platform to modify. Back in the day, street rods were built based on bigger is better. Today, with technology being at the forefront of automotive performance, bigger isn't necessarily better.
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That was all Greg Ellingson got with his brand new 2017 Honda Civic Type R. He flew from Philadelphia to Boston to pick up the car. Every setup would be different here, so planning that out would help you to not only save money, but ensure the parts you purchase work well together and compliment each other. Select your platform. If you don't already have a car or truck to modify, then you need to decide first which platform you are going to go for before you come up with a path. Again, this comes down to deciding what type of racing or performance you want from your car. Many of us already know that we want an import or domestic, and a specific brand. Others are limited by budget or other criteria. For flat out power, nothing beat starting with a platform that is already turbo from the factory, or already has a V8 motor. Some examples of great platforms to start your mods: Subaru WRX or Subaru WRX STi. 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This means your car needs to be as light as possible, launch as hard as possible, and have as much useable power as possible. Typically, drag race setups are not very comfortable on the street. If you have a front wheel drive, you will need a good set of slicks and a limited slip differential. You can't drive around with slicks on the street (typically), so you will need a special setup of wheels and tires for the track. If your car is rear wheel drive, you can get away with using street slicks, but for serious drag racers, this might not work. You'd want to setup your suspension to keep the rear stiffer than the front, so as the weight transfers to the back for launch it helps with traction. Brakes aren't too important except you want to be able to stop at the end of the drag strip. Road Racing. Unlike with drag racing, road racing not only requires power, but requires all around incredible handling and braking. Where as drag racing requires only 1. 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You have not yet voted on this site! If you have already visited the site, please help us classify the good from the bad by voting on this site. Patch V1 1 Gog Paintball MarkerClannad (visual novel) - Wikipedia. Clannad. Clannad original visual novel cover, featuring the heroine Nagisa Furukawa.クラナド(Kuranado)Genre. Drama, Fantasy, Romance. Game. Developer. Key. Publisher. Genre. Visual novel. Platform. Tell me about the issue and I’ll help you find the solution you need. No-registration upload of files up to 250MB. Not available in some countries. Faro es el descubridor de información académica y científica de la Biblioteca Universitaria. En él podrás encontrar libros impresos y electrónicos, tesis. ![]() Windows, PS2, S3. G, FOMA, Xbox 3. 60, PSP, PS3, Android, PS Vita. Released. JP: April 2. WW: November 2. 3, 2. ![]() Print media. Light novel. Manga. Anime television series. Directed by. Tatsuya Ishihara. Written by. Fumihiko Shimo. Music by. Jun Maeda. Magome Togoshi. Shinji Orito. Studio. Kyoto Animation. Licensed by. Original network. TBS, MBS, CBC, BS- i. English network. Original run. October 4, 2. 00. March 2. 7, 2. 00. Episodes. 23 (List of episodes)Original video animation. Directed by. Tatsuya Ishihara. Studio. Kyoto Animation. Licensed by. Released. July 1. 6, 2. 00. July 1, 2. 00. 9Runtime. Episodes. 2Anime television series. Clannad After Story. Directed by. Tatsuya Ishihara. Written by. Fumihiko Shimo. Music by. Jun Maeda. Magome Togoshi. Shinji Orito. Studio. Kyoto Animation. Licensed by. Original network. TBS, MBS, CBC, BS- i. English network. Original run. October 3, 2. 00. March 2. 6, 2. 00. Episodes. 24 (List of episodes)Other. Anime and Manga portal. Clannad(クラナド,Kuranado) is a Japanese visual novel developed by Key and released on April 2. Windows. PCs. While both of Key's first two previous works, Kanon and Air, had been released first as adult games and then censored for the younger market, Clannad was released with a rating for all ages. It was later ported to the Play. Station 2, Play. Station Portable, Xbox 3. Play. Station 3 and Play. Station Vita consoles. An English version for Windows was released on Steam by Sekai Project in 2. The story follows the life of Tomoya Okazaki, a high school delinquent who meets many people in his last year at school, including five girls, and helps resolve their individual problems. The gameplay of Clannad follows a branching plot line which offers pre- determined scenarios with courses of interaction, and focuses on the appeal of the five female main characters by the player character. The game was ranked as the best- selling PC game sold in Japan for the time of its release, and charted in the national top 5. Key went on to produce an adult spin- off titled Tomoyo After: It's a Wonderful Life in November 2. Tomoyo Sakagami, one of the five heroines from Clannad. Clannad has made several transitions to other media. There have been four manga adaptations published by ASCII Media Works, Flex Comix, Fujimi Shobo and Jive. Comic anthologies, light novels and art books have also been published, as have audio dramas and several albums of music. An animated film by Toei Animation was released in September 2. OVA) episodes by Kyoto Animation produced between 2. Both anime series and their accompanying OVAs are licensed by Sentai Filmworks and were released in North America in 2. The animated adaptations have received high sales figures in Japan as well as critical acclaim abroad. Gameplay[edit]. Average dialogue and narrative in Clannad depicting the main character Tomoya talking to Nagisa. Clannad is a drama and romancevisual novel in which the player assumes the role of Tomoya Okazaki. Much of its gameplay is spent on reading the story's narrative and dialogue. Clannad follows a branching plot line with multiple endings; depending on the decisions that the player makes during the game, the plot will progress in a specific direction. There are six main plot lines that the player will have the chance to experience, five which are initially available.[1] Throughout gameplay, the player is given multiple options to choose from, and text progression pauses at these points until a choice is made. To view all plot lines in their entirety, the player must replay the game multiple times and make different choices to change the plot progression. When first playing the game, the scenarios for all five heroines and additional smaller scenarios are available in what is called the School Life story arc. When the player completes a character's scenario, he or she receives an orb of light. When eight of these lights are obtained, the game's second story arc, called After Story, is made available. One of the lights disappears during School Life, but reappears in After Story.[1] To view the true ending of Clannad, all 1. Originally, the lights were meant to be items that players could use in the game, but since this increased the game's complexity, and detracted from the storyline, the function of the lights was simplified and made less intrusive.[2]Setting and themes[edit]The first half of the story takes place primarily at Hikarizaka Private High School, a fictional school located in Japan. Outside of the school, frequented locations include the bakery run by Nagisa's parents, and the dormitory where Youhei Sunohara lives. Throughout the story, glimpses into an Illusionary World are shown. This world is devoid of all life except for a young girl, though she later makes a body out of junk pieces through which the player can interact with her. The remaining half of the story takes place in the same city, after the conclusion of the first half.[1] While the town's name was never directly mentioned, one can infer that the town's name is Hikarizaka based on the many companies and establishments that share this name. There are recurring themes that appear throughout the story. The main theme is the value of having a family, as the title of the series implies because the main scenario writer Jun Maeda mistakenly thought the name of the Irish band Clannad meant "clan" or "family" in Irish.[3] Of the six main characters, Tomoya, Nagisa, and Kotomi have no siblings, though their parents are major factors in their stories. Nagisa's story was written to incorporate what Maeda described as a "perfect family" with a focus on mental consciousness.[2] In Nagisa's story, there is a recurring appearance of "The Big Dango Family" (だんご大家族,Dango Daikazoku) (a fictional group mascot for children) that Nagisa is fond of.[1] Tomoya's and Nagisa's characters were written in a style to exemplify a "growth to adulthood" by the end of the story.[2] Fuko's and Kyou's stories have their sisters playing an integral part, and Tomoyo's story is influenced by her entire family.[1] A minor motif of Irish words continues with the opening theme of the game, "Mag Mell", which means roughly "plain of joy" and is connected with Irish mythology.[4] The arrange album, a short music CD that contained remixed versions of songs in the game, that was bundled with the original game release was titled Mabinogi,[5] which was a collection of prose stories from medieval. Welshmanuscripts.[6]Main characters[edit]The player assumes the role of Tomoya Okazaki, the protagonist of Clannad. Tomoya has been labeled a delinquent; at the beginning of the story, he even expresses hatred toward the city he has lived in all his life where Clannad is set. He is very straightforward in his comments to others and will not hesitate to speak his mind, even if he comes off as rude during such times. Despite this, Tomoya is very loyal to his friends, and has been known to dedicate himself for those around him in need of help or support. He generally has a selfless personality and does not ask much from others in return for what he does for them.[1]Tomoya meets Nagisa Furukawa, the main heroine of Clannad, at the onset of the story. Nagisa is a shy, soft- spoken girl who has very low self- esteem and self- confidence which causes her to rely on those around her for support. She has developed the strange habit of muttering the names of favorite foods that she plans to eat as a way to motivate herself, such as anpan. Kyou Fujibayashi, another of Clannad's heroines, is an aggressive girl well known as a good cook among her friends and family. When angry she does not hesitate to throw a dictionary at people that she often carries around for such purposes. Despite this attitude, she also has a more subdued side, especially towards her younger fraternal twin sister Ryou Fujibayashi.[1]Tomoya meets a genius girl named Kotomi Ichinose, one day in the school library. She is ranked in the top 1. Kotomi is a very quiet girl with poor social skills and it is quite difficult to communicate with her; Kotomi can even completely ignore someone when reading, even if they make loud disturbances around her. Clannad's fourth heroine is a second- year student named Tomoyo Sakagami who transfers into Tomoya's school.
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