Neutrino: The Novel Messenger of the Universe

Author(s):  
Francisco Torrens ◽  
Gloria Castellano
Keyword(s):  
2021 ◽  
Vol 5 (7) ◽  
pp. 181
Author(s):  
Dibyani Sahu ◽  
Harekrushna Sutar ◽  
Pragyan Senapati ◽  
Rabiranjan Murmu ◽  
Debashis Roy

Graphene has accomplished huge notoriety and interest from the universe of science considering its exceptional mechanical physical and thermal properties. Graphene is an allotrope of carbon having one atom thick size and planar sheets thickly stuffed in a lattice structure resembling a honeycomb structure. Numerous methods to prepare graphene have been created throughout a limited span of time. Due to its fascinating properties, it has found some extensive applications to a wide variety of fields. So, we believe there is a necessity to produce a document of the outstanding methods and some of the novel applications of graphene. This article centres around the strategies to orchestrate graphene and its applications in an attempt to sum up the advancements that has taken place in the research of graphene.


2017 ◽  
Vol 1 (2) ◽  
pp. 235
Author(s):  
Fadlil Munawwar Manshur

This paper discusses the theory advanced by Bakhtin about dialogism and methodological concepts. This theory to formulate the concept of human existence on the other, which is based on the idea that humans judge him from the viewpoint of others. Humans understand the moments of consciousness and take it into account through the eyes of others. According to this theory, the essence of human life is a dialogue. The Method of heteroglossia talks about signs in the universe of individuals because of the word "heteros" means "other" or different, while "glossia" means the tongue or language. In this method mentioned that people are saying needs to be heard, and the author also has the same rights that words need to be heard. A word is born from dialogue to address the problems of life. On the other hand, Bakhtin sees carnival method has spawned a new literary genre, the polyphonic novel. The polyphonic novel is a novel that is characterized by a plurality of voice or consciousness, and the voices or the overall awareness dialogical. Polyphonic essentially a "new theory of authorial viewpoint". Polyphonic appear in fiction when the position of the author freely allowed to interact with the characters. The characters in the novel are freely polyphonic appear to argue with each other and even with the author.


Author(s):  
Strachan Donnelley

This chapter presents a reading of Boris Pasternak’s Doctor Zhivago that brings out the philosophy that permeates the work and compares it with the philosophical cosmology of Alfred North Whitehead. Whereas Whitehead wears his speculative cosmology on his sleeve, Pasternak cloaks his philosophy in his art, in his characters and their conversations, and in the imaginative world he creates. The dramatic and relational focus of the novel is “life in others,” which means that life essentially involves both worldly activity and worldly “suffering,” or undergoing. This is behind the bewildering interconnections and mutual influences of Doctor Zhivago’s characters. The mutual penetration and real connection of lives, each in the other, is the backbone of the novel, undergirding its tragic vision. Doctor Zhivago is the story of individual, interconnected lives crucifying and resurrecting one another, again and again. The final ingredient of Pasternak’s cosmic harmony, without which we cannot fully understand the interrelations of life, death, form, and art, is eros, love. Pasternak’s cosmological vision is that individuals are essentially involved with one another and with the universe abroad. Life renews itself out of death, and human love and creative activity are the truest and fullest expressions of cosmic reality.


Author(s):  
Don Riggs

Frank Herbert was born on 8 October 1920 in Tacoma, Washington, to Frank Patrick Herbert Sr. and Eileen (McCarthy) Herbert. In 1938 he graduated from high school and moved to Southern California, where he lied about his age to work for the Glendale Star, the first of many newspaper jobs. He married Flora Parkinson in 1940 and they had one daughter, Penny, but they divorced in 1945. He enlisted in the United States Navy in 1941, joining the Seabees, but was given a medical discharge six months later. In 1946 he entered the University of Washington. He met Beverly Ann Stuart in a creative writing class, and they married in June that year. They had two sons, Brian Patrick (1947) and Bruce Calvin (1951). Brian would himself become a writer, continuing his father’s Dune series with sequels and prequels, as well as a 2003 biography, Dreamer of Dune. Bruce would become a photographer and LGBT activist, and died of AIDS in 1993. Herbert published his first story, “Survival of the Cunning,” which was not science fiction, in Esquire in 1945; his first science fiction story, “Looking for Something,” appeared in 1952 in Startling Stories. He published his first science fiction novel in 1956: based on a story titled “Under Pressure,” the 1956 novel was titled The Dragon of the Sea, and was reprinted with the title 21st-Century Sub. Many of the themes from this work would appear in the later Dune novels. During these years, Herbert wrote for various newspapers, but took time off to work on his fiction; his wife Beverly worked as an advertising copywriter. A newspaper assignment to cover the USDA’s effort to reclaim dune lands inspired much background research—over 200 books, according to Brian Herbert’s biography—and resulted in the novel Dune, which was initially published in editor John W. Campbell’s magazine Analog in 1963 and 1964; after twenty rejections, Chilton Books, an auto-repair manual publisher, offered to publish it, which it did in 1965. Dune won the Hugo Award that year, and tied for the Nebula Award in 1966. It became an underground cult classic and ultimately the greatest-selling science fiction novel of all time. Herbert wrote the novel with his wife Beverly’s constant response and comments, and he modeled the Lady Jessica on her. Herbert wrote five sequels, generally regarded as being of lesser quality than Dune itself. However, much of the scholarship analyzes the original novel in the “universe” established within the series of sequels, so Dune appears in relation to the novels from Dune Messiah, Children of Dune, and God Emperor of Dune in particular.


2021 ◽  
Vol 1 (01) ◽  
pp. 1-10
Author(s):  
Onok Yayang Pamungkas

This research is an attempt to explain the form of environmental ethics and values ??of strengthening the Quadriology character of the Novel by Ki Padmasusastra (hereinafter referred to as QNKKP). This study uses a qualitative research paradigm. The object of this research is called cyber literature because the data is taken from online sites. The main data of the study include four novels by Ki Padmasusastra. Technical data analysis uses content analysis techniques that are based on cultural hermeneutics. The results showed that, QNKKP is a reflection of the universality of Javanese literature wrapped in the symbolism of literary texts. The picture of people's life is the goal of an ideal standard of living that is in accordance with the values ??that develop in Javanese culture. The main goal of environmental wisdom in the perspective of Javanese culture is to help hayuning bawana 'maintain the balance of nature', in order to create a harmonious life between creatures in the universe. An important implication of the research findings is that human awareness to respect each other's existing entities is the basis of strength that can guide human character to seek fellowship with nature.


Literatūra ◽  
2020 ◽  
Vol 62 (2) ◽  
pp. 171-184
Author(s):  
Maria Dmitrovskaya

The article demonstrates the fact that the duality of human consciousness is connected by mutual projections with the topography of the Georgian Military Road and the model of the universe and also forms the system of narrators / characters and the structure of the novel as a whole, including the number of stories and the partition of the novel into two parts. The sources used by the writer in the formation of the narrative structure of the novel are reconstructed. The numerological code of the novel is considered, the language bases of the conceptual system are analyzed. The embeddedness in the conceptual system of the trinomial name of Mikhail Yuryevich Lermontov is demonstrated. The vertical and horizontal spatial orientation of the Georgian Military Road allows discovering the topographic connection of the road with the dual reality of Lermontov, in which the opposite poles of good and evil, divine and evil turn into one.


2021 ◽  
Vol 41 (65) ◽  
pp. 31
Author(s):  
Ana Rita Sousa

Resumo: A ficção portuguesa no século XXI parece inclinar-se maioritariamente para as distintas formas que autoriza o romance na pós-modernidade. Por razões de vária ordem, que vão desde a nossa tradição literária à criação de um mercado editorial que fomenta este género, os escritores surgidos após a passagem do milénio e publicados nas grandes casas editoriais portuguesas têm recorrido pouco ao conto. Em contrapartida, o trabalho realizado por editoras independentes tem trazido a lume outros possíveis caminhos para a ficção portuguesa que não desaguam no universo de tendências dominantes do mercado cada vez mais global (carácter mais universal da intriga, inclinação para mobilidade constante das personagens e dos espaços, alusões de natureza livresca, recusa a referências locais ou regionais, etc.). Neste sentido, este trabalho tem como objetivo analisar o contributo de Teatro Vertical, livro de contos de Manuel Alberto Vieira, que em sentido quase oposto às tendências dominantes, permite repensar a potencialidade do conto como género na atualidade, ao mesmo tempo que reconfigura um dos elementos mais problematizados da nossa sociedade: a família. Após uma breve contextualização da subalternização do género na nossa tradição literária, procura analisar-se a estrutura narrativa destes contos – partindo das reflexões de Ricardo Piglia sobre as formas breves –, assim como estudar o modo em que um dos temas dominantes, a família, é evidenciado nas suas complexas mutações através das estruturas mais simples, próprias do conto.Palavras-chave: Manuel Alberto Vieira; conto; narrativa; família; crueldade. Abstract: Portuguese fiction in the 21st century seems to lean mostly towards the different forms that authorize the novel in postmodernity. For various reasons, ranging from our literary tradition to the creation of an editorial market that fosters this genre, writers who emerged after the passing of the millennium and published in the major Portuguese publishing houses have made little use of the short-story.  On the other hand, the work carried out by independent publishers has brought to light other paths for Portuguese fiction that do not lead to the universe of dominant trends in the increasingly global market (a more universal character of intrigue, inclination towards constant mobility of characters and spaces, allusions of a bookish nature, refusal of local or regional references, etc.). In this sense, this work intends to analyze the contribution of Teatro Vertical, a short story book by Manuel Alberto Vieira, which, in an almost opposite sense to the dominant trends, allows us to rethink the potential of the literary short-story as a genre today, while reconfiguring one of the elements most problematized in our society: the family. To this end, this work, after a brief contextualization of the subordination of gender in our literary tradition, seeks to analyze the narrative structure of these short-stories - based on Ricardo Piglia’s reflections on short forms - as well as studying the way in which one of the dominant themes, the family, is evidenced in its complex mutations through the simplest structures, typical of the short-story.Keywords: Manuel Alberto Vieira; short story; narrative; family; cruelty.


Paragraph ◽  
2010 ◽  
Vol 33 (2) ◽  
pp. 215-229
Author(s):  
Peter Dayan ◽  
Carolina Orloff

One character in Cortázar's novel (Persio) truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s (proto-‘New Age’) counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality.


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