ISSUES OF TRANSLATION OF THE COGNITIVE CONCEPT “KNOWLEDGE” FROM ENGLISH INTO KYRGYZ

2021 ◽  
Vol 1 (4) ◽  
pp. 393-398
Author(s):  
Khulkarai Tulanbaevna Abdurakhmanova
Keyword(s):  
Author(s):  
Zhusupbek kyzy Aida

Abstract. Thе article aims at researching the concept “knowledge” used in phraseological units which is one of the key concepts in Кyrgyz and English world view. The comparative analysis of the concept “knowledge” in Kyrgyz and English linguistic world view reveals differences and similarities in its content. In addition, the research also shows that Kyrgyz phraseological units differ a lot from the English due to several particular features like cultural diversity, language peculiarities and linguistic world view. Various examples related to the concept “knowledge” are used demonstrating the difficulties in translation and the differences in meaning of the concept “knowledge” in phraseological units in Kyrgyz and English world view. Key words: concept, linguistic world view, phraseological units, idioms, phrase, proverbs and sayings, phraseology, equivalents, knowledge, translation.


Author(s):  
Camila Freitas Salgueiredo ◽  
Armand Hatchuel

AbstractIs biologically inspired design only an analogical transfer from biology to engineering? Actually, nature does not always bring “hands-on” solutions that can be analogically applied in classic engineering. Then, what are the different operations that are involved in the bioinspiration process and what are the conditions allowing this process to produce a bioinspired design? In this paper, we model the whole design process in which bioinspiration is only one element. To build this model, we use a general design theory, concept–knowledge theory, because it allows one to capture analogy as well as all other knowledge changes that lead to the design of a bioinspired solution. We ground this model on well-described examples of biologically inspired designs available in the scientific literature. These examples include Flectofin®, a hingeless flapping mechanism conceived for façade shading, and WhalePower technology, the introduction of bumps on the leading edge of airfoils to improve aerodynamic properties. Our modeling disentangles the analogical aspects of the biologically inspired design process, and highlights the expansions occurring in both knowledge bases, scientific (nonbiological) and biological, as well as the impact of these expansions in the generation of new concepts (concept partitioning). This model also shows that bioinspired design requires a special form of collaboration between engineers and biologists. Contrasting with the classic one-way transfer between biology and engineering that is assumed in the literature, the concept–knowledge framework shows that these collaborations must be “mutually inspirational” because both biological and engineering knowledge expansions are needed to reach a novel solution.


2019 ◽  
Vol 42 (1) ◽  
pp. 83-96
Author(s):  
Anna Rhoad-Drogalis ◽  
Laura M. Justice

This study applied multilevel modeling to examine the relationship between the percentage of children with mild/moderate disabilities in classrooms and children’s language and literacy achievement over an academic year. The sample included 516 preschool children (mean age = 52.3 months, SD = 6.3) in 75 classrooms; 42% of the children had disabilities. The proportion of children with disabilities in a given classroom ranged from 7% to 92%. We found that the percentage of children with disabilities was not related to children’s spring achievement for three outcomes: language, print-concept knowledge, and alphabet knowledge. These findings and further research directions are discussed.


Author(s):  
Debbie Denise Reese

Game-based, metaphor-enhanced (GaME) design is a process for engineering instructional games to prepare learners with the prior knowledge they need to learn later, more complex science concepts. The key step in the method is specifying a domain’s relational structure and then developing a game world based upon that structure. Reviewing relevant game design, cognitive science, and learning science theories, the author argues: (a) the need for GaME design; (b) that game worlds, complex concepts, and mental models are analogous systems; (c) how game-based technologies can provide a pragmatic and embodied context for making complex, introductory concepts intuitive; and (d) that the pragmatic, physical, and procedural aspects of games make them powerful learning tools that must be carefully designed. The author illustrates GaME design using Selene: A Lunar Creation GaME. Rigorous methods for design of instructional games will enhance control over learning outcomes.


2019 ◽  
Vol 116 (32) ◽  
pp. 15861-15870 ◽  
Author(s):  
Jeffrey A. Brooks ◽  
Junichi Chikazoe ◽  
Norihiro Sadato ◽  
Jonathan B. Freeman

Humans reliably categorize configurations of facial actions into specific emotion categories, leading some to argue that this process is invariant between individuals and cultures. However, growing behavioral evidence suggests that factors such as emotion-concept knowledge may shape the way emotions are visually perceived, leading to variability—rather than universality—in facial-emotion perception. Understanding variability in emotion perception is only emerging, and the neural basis of any impact from the structure of emotion-concept knowledge remains unknown. In a neuroimaging study, we used a representational similarity analysis (RSA) approach to measure the correspondence between the conceptual, perceptual, and neural representational structures of the six emotion categories Anger, Disgust, Fear, Happiness, Sadness, and Surprise. We found that subjects exhibited individual differences in their conceptual structure of emotions, which predicted their own unique perceptual structure. When viewing faces, the representational structure of multivoxel patterns in the right fusiform gyrus was significantly predicted by a subject’s unique conceptual structure, even when controlling for potential physical similarity in the faces themselves. Finally, cross-cultural differences in emotion perception were also observed, which could be explained by individual differences in conceptual structure. Our results suggest that the representational structure of emotion expressions in visual face-processing regions may be shaped by idiosyncratic conceptual understanding of emotion categories.


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