The Representation of Time and Space in Korean Comics Depicting Army Life and Its Symbolic Meaning - Analysis of works through Foucault"s theory of ‘disciplinary power’

2021 ◽  
Vol 62 ◽  
pp. 117-152
Author(s):  
nam ki Park
Keyword(s):  
Symbolic Meaning ◽  
Time And Space ◽  
Disciplinary Power ◽  
Meaning Analysis ◽  
Representation Of Time

scholarly journals THE PECULIARITIES OF REPRESENTATION OF TIME ANS SPACE MODEL IN THE COLLECTION OF STORIES «WESSEX TALES» BY T.HARDY

2020 ◽  
Vol 1 (10(78)) ◽  
pp. 167-170
Author(s):  
Olena Rosstalna
Keyword(s):  
Contextual Analysis ◽  
Community Life ◽  
Moral Choice ◽  
Time And Space ◽  
Space Model ◽  
The Past ◽  
Space Organization ◽  
Characteristic Features ◽  
Local Image ◽  
Representation Of Time

The article analyzes the peculiarities of the representation of time and space model in the collection of short stories «Wessex Tales» by the English writer T.Hardy. Based on a contextual analysis of T. Hardy’s stories, time and space model was singled out as the dominant meaning for the creation of «Wessex Tales». It is proved that the category of time in «Wessex Tales» is a component of the composition of works (in some stories the principle of framing is used). Its functioning in the collection occurs in the form of a two-component model, the elements of which are past and present. It is determined that the specific presentation of the past is a combination of «collective» and «individual» time. While presenting individual facts in the lives of specific heroes in the form of «individual» time, the author introduces them into the context of events of community life in the form of «collective» time. Each individual character’s story thus becomes a part of panoramic depiction of Wessex world, while maintaining a connection with real historical events. «Quasi-historicity» is defined as one of the characteristic features of time. The interaction of temporal levels has also been investigated at the level of conflicts and problems in the writer’s stories and novels (the problem of responsibility for actions, the problem of moral choice, etc.). The peculiarity of space organization in the collection of stories is determined by multilevel (panoramic – local image; realistic – mythopoeticized sketches of the metaphorical plan; the existence of two subspaces in the mythologized model of the world) and multivariate. The article analyzes the closed and open, terrestrial and cosmic, real and imaginary spaces that are realized in the system of images (city, town, house, road, etc.).

scholarly journals El tiempo detenido en cuatro miradas

2019 ◽  
Vol 6 (1) ◽  
pp. 125
Author(s):  
Julio Grijalba Bengoetxea ◽  
Alberto Grijalba Bengoetxea ◽  
Jairo Rodríguez Andrés
Keyword(s):  
Time And Space ◽  
The Gaze ◽  
Deep Sense ◽  
Representation Of Time

<p>According to Lessing’s theory, time and space are the concept bases of aesthetics. Architecture belongs to the realm of space, following this theory. There is no unitary discourse that substantiates the presence and the representation of time in Architecture. Our approach in this paper is based on the idea that the attributes of time and its passage, understood in their deep sense, are nothing but an essential issue of Architectural Project. Thus, the construction of our discourse hinges on four gazes to four projects, as defined in the first of “Four Quarters” by T.S. Elliot, published in 1936. The outside wall of the experimental house of Muuratsalo represents the gaze to a previous ruin, confronted with the detained time by the white that covers everything. The fragment of the wall of Sankt Markus, by Björhagen, evokes the lost unity. The courtyard enclosure of the Värmlan Regional Museum is a look in two different times. Finally, the outside wall of the Särestö Museum explores the bond between Architecture and nature throughout time.</p>

scholarly journals Well-order as a construction principle for physical theories

2019 ◽  
Vol 79 (11) ◽  
Author(s):  
Peter Schust
Keyword(s):  
Real Number ◽  
Ordered Set ◽  
Mathematical Concept ◽  
Ordered Sets ◽  
Time And Space ◽  
Fundamental Idea ◽  
Construction Principle ◽  
Number Lines ◽  
Representation Of Time

AbstractPhysics has up to now missed to express in mathematical terms the fundamental idea of events of a path in time and space uniquely succeeding one another. An appropriate mathematical concept that reflects this idea is a well-ordered set. In such a set every subset has a least element. Thus every element of a well-ordered set has as its definite successor the least element of the subset of all elements larger than itself. This is apparently contradictory to the densely ordered real number lines which conventionally constitute the coordinate axes in any representation of time and space and in which between any two numbers exists always another number. In this article it is shown how decomposing this disaccord in favour of well-ordered sets causes spacetime to be discontinuous.

Non-binary times, non-binary places: communities and their intersections

2020 ◽  
pp. 101-132
Author(s):  
Ben Vincent
Keyword(s):  
Lived Experience ◽  
Symbolic Meaning ◽  
Time And Space ◽  
Postmodern Theory ◽  
Negotiation Of Identity

This chapter draws attention to times and places that recur as sites of significance for non-binary people, and the negotiation of identity. It argues that the symbolic meaning ascribed to particular times and/or places will be fundamentally informed by the interactions had within them. The author uses time and space as concepts to collectively consider and connect aspects of lived experience through a sociological lens, rather than to specifically construct postmodern theory.

scholarly journals Le Véloce-Sport et l’invention de la culture cycliste

2021 ◽  
Vol 10 (2) ◽  
pp. 78-89
Author(s):  
Martin Hurcombe
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Time And Space ◽  
Sports Journalism ◽  
Sports Culture ◽  
The Road ◽  
Late Nineteenth ◽  
The Voice ◽  
Representation Of Time

FR. Publié entre 1885 et 1897, Le Véloce-Sport de Bordeaux faisait figure de chef de proue parmi les revues vélocipédiques françaises de la fin du XIXe siècle. En tant que la voix de l’Union Vélocipédique Française (UVF), cet hebdomadaire en devint par la suite son organe national officiel. Alors que certaines analyses de l’histoire du sport en France se sont penchées sur ce rapport avec l’UVF pour mieux comprendre l’évolution de cette dernière, on a plutôt négligé l’analyse des pratiques journalistiques chez Le Véloce-Sport. Une lecture plus attentive de ce dernier offre le spectacle d’une culture sportive en voie de développement et illustre donc le rôle fondamental du journalisme sportif, ainsi que celui de ses lecteurs, dans la construction de cette culture. Notre analyse se portera sur la rubrique « À travers route » et sur les articles publiés sous celle-ci entre 1885 et 1889. À la différence de la plupart d’autres rubriques, « À travers route » encourage le lecteur-cycliste de devenir cycliste-écrivain en lui invitant de raconter ses périples à vélo ; elle permet donc de mieux comprendre la contribution du cycliste-écrivain à la conceptualisation et à la représentation de la vélocipédie ainsi qu’à une culture cycliste nationale en voie de développement. Notre analyse se portera sur deux aspects de ce phénomène qu’on trouve dans les récits des écrivains-cyclistes : la représentation du temps et de l’espace traversés à vélo et l’élaboration du personnage qui les traverse (le véloceman). Écrire le cyclisme devient ainsi une façon d’afficher son appartenance à cette culture cycliste émergeante en France de l’époque tout en contribuant à sa construction et à son élaboration. *** EN. Published between 1885 and 1897, the Bordeaux-based Le Véloce-Sport was a leading figure amongst French cycling reviews of the late nineteenth century. As the voice of the Union Vélocipédique Française (UVF), this weekly subsequently became its official national publication. While some sport historians have highlighted its relationship with the UVF in order to better understand the latter’s development, scholars have largely failed to analyse the journalistic practices of Le Véloce-Sport itself. A closer reading of the latter offers the spectacle of a developing sports culture and therefore illustrates the fundamental role of sports journalism, as well as the part played by its readers, in the construction of this culture. This study will focus on one section from the review (« À travers route » [Along the road]) and the articles published in it between 1885 and 1889. Unlike most other sections of Le Véloce-Sport, « À travers route » encourages the cyclist-reader to become a cyclist-writer by inviting the latter to recount his cycling adventures. It thus allows us to better understand the contribution of a broad range of cycling-writers to the conceptualisation and representation of cycling and to a developing national cycling culture. Our analysis will focus on two aspects of this phenomenon through the examination of the submissions by the readers of Le Véloce-Sport: the representation of time and space traversed whilst cycling and the elaboration of the character who traverses these (the véloceman). Writing about cycling thus becomes a means of signalling one’s adherence to the emerging cycling culture of the time whilst helping to build and elaborate it. *** PT. Publicada entre 1885 e 1897, Le Véloce-Sport de Bordeaux impôs-se como a principal revista velocipédica francesa do final do século XIX. Enquanto voz da União Velocipédica Francesa (UVF), o hebdomadário viria a se tornar, mais tarde, seu órgão nacional oficial. Enquanto alguns estudos da história do esporte na França se concentraram nessa relação com a UVF para apreender sua evolução, a análise das próprias práticas jornalísticas na Le Véloce-Sport tem sido negligenciada. Uma leitura mais atenta dessa revista revela o espetáculo de uma cultura esportiva em desenvolvimento, ilustrando o papel fundamental do jornalismo esportivo, e de seus leitores, na construção dessa cultura. Analisamos aqui a coluna “À travers route” e os artigos nela publicados entre 1885 e 1889. Ao contrário da maioria das outras colunas, “À travers route” incentiva o leitor-ciclista a se tornar um ciclista-escritor, convidando-o a contar suas aventuras de bicicleta, proporcionando uma melhor compreensão da contribuição do ciclista-escritor para a conceituação e representação da velocipédica e para uma cultura ciclística francesa em desenvolvimento. Nossa análise foca mais especificamente em dois aspectos desse fenômeno nas narrativas dos escritores-escritores: a representação do tempo e do espaço percorridos de bicicleta; e a elaboração do personagem que os atravessa (o véloceman ou “homem-velocidade”). Escrever sobre ciclismo torna-se assim uma forma de assumir e de manifestar seu pertencimento à cultura do ciclismo emergente na França da época, ao mesmo tempo em que contribui para sua construção e seu desenvolvimento. ***

scholarly journals “A compressed representation of spatial distance in the rodent hippocampus’’

2021 ◽  
Author(s):  
Daniel J. Sheehan ◽  
Stephen Charczynski ◽  
Blake A. Fordyce ◽  
Michael E. Hasselmo ◽  
Marc W. Howard
Keyword(s):  
Spatial Location ◽  
Place Cells ◽  
Spatial Distance ◽  
Spatial Relationships ◽  
Time And Space ◽  
The Past ◽  
Starting Point ◽  
Starting Location ◽  
Stimulus Offset ◽  
Representation Of Time

AbstractPrincipal cells in the rodent hippocampus often fire in response to traversal through a specific spatial location (place cells), as well as elapsed time during an imposed temporal delay or after stimulus offset (time cells). Sequences of time cells unfold rapidly at first, with many time cells with narrow time fields. As the triggering event recedes into the past, time cells are fewer and have broader fields. This means that the representation of time in the hippocampus is compressed with greater resolution for time points near the present. Using tetrode recordings we measured individual CA1 units while rats traveled along a track that could be changed in length. Consistent with previous results, most place cells coded for distance from the starting point of the trajectory. Critically, place cells became less numerous and showed gradually widening fields with distance from the starting location. These results suggest that as the animal leaves a landmark, the hippocampal place code forms a compressed representation of distance from the starting location. The representation of time and space in the hippocampus have similar properties suggesting that they arise from similar computational mechanisms.Significance StatementThe hippocampus represents relationships between events in time and space. It has been hypothesized that temporal and spatial relationships are the result of a common computational mechanism. Previous work has shown that the representation of time in the hippocampus is compressed, with less neural resolution for more temporally remote events, consistent with the observation that temporal memory is worse for events further in the past. This paper shows an analogous result for spatial relationships. Place cells coded for distance from the start of a journey. As distance increased, place fields became broader and less numerous, showing a decrease in spatial resolution. This result suggests a unified coding scheme for the dimensions of time and space in the rodent hippocampus.

scholarly journals ANALISIS MAKNA SIMBOL PADA TARI GENDANG BAKA DI DESA LINGGA KECAMATAN SIMPANG EMPAT KABUPATEN KARO

2019 ◽  
Vol 8 (1) ◽  
pp. 77
Author(s):  
Tania Rosani ◽  
RHD Nugrahaningsih
Keyword(s):  
Symbolic Meaning ◽  
Literature Study ◽  
Traditional Leaders ◽  
Common Goals ◽  
Musical Accompaniment ◽  
Meaning Analysis

ABSTRACT This study is intended to describe the analysis symbolic meaning of motion, property, floor pattem, accompaniment, and costume contained on gendang baka dancing in Desa Lingga Kecamatan Simpang Empat Kabupaten Karo. The theory that is used in this study is Sumandiyono Hadi’s theory (2005:23) contains the meaning of the symbol and Ibrahim (2018:103) contain the meaning analysis. The method of this study is descriptive kualitatif. The population of the study are traditional leaders, dancing, musician, and artist. The sampel of this study are artist, and dancing. The instrument of collecting data are observation, interview, literature study, and documentation. The result of this study show symbolic meaning of the gendang baka that contains four types. The four types of motion lead to the nature or character of the Karo’s community and other communition to the each other, consider things befoure acting, prioritize unity to achieve common goals. Symbolic meaning property and gendang baka dancing is a power that cannot be shaken, to start life wich relief and confort and more closer to God. The symbolic meaning floor pattern of gendang baka dancing keep holding fast togetherness in doing act. Togetherness and compactness create solid unity. Symbolic meaning of musical accompaniment of gendang baka is to intive Karo’s society to see and preserve gendang baka dancing and influence the audience to feel the beauty of gendang baka. symbolic meaning of costume in gendang baka dancing are as chastely, kindness and protection, because the fabric is used white and black who is belive to be able to dispel everthing that is not good. Keyword : Symbolic Meaning, Tari Gendang Baka.  ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan analisis makna simbol dari gerak, properti, pola lantai, iringan musik, dan pakaian yang terdapat pada tari gendang baka di Desa Lingga Kecamatan Simpang Empat Kabupaten Karo. Teori yang digunakan dalam penelitian ini adalah teori Sumandiyono Hadi (2005:23) tentang makna simbol dan Ibrahim (2018:103) tentang pengertian analisis. Metode dari penelitian ini adalah deskriptif kualitatif. Populasi dalam penelitian ini adalah tokoh adat, penari, pemusik, seniman. Sedangkan yang menjadi sampel dalam penelitian ini adalah seniman, dan penari. Teknik pengumpulan data dengan observasi, wawancara, studi kepustakaan, dan dokumentasi. Hasil penelitian menunjukan bahwa makna simbol gerak tari gendang baka terdiri dari empat ragam, keempat ragam gerak ini mengarahkan bagaimana seharusnya sifat atau karakter masyarakat Karo dan masyarakat lainnya untuk saling tolong menolong, mempertimbangkan segala sesuatu hal sebelum bertindak, mengutamakan kesatuan untuk mencapai tujuan bersama, dan tetap berserah memohon kepada Tuhan agar apa yang kita inginkan dapat tercapai. Makna simbol properti dan sesaji tari gendang baka adalah adanya kekuatan yang tidak dapat tergoyahkan, mengawali kehidupan dengan kelegaan dan kenyamanan dapat membuat kehidupan lebih tenang, dan tetap mendekatkan diri kepada Tuhan. Makna simbol pola lantai tari gendang baka adalah tetap memegang teguh kebersamaan dan kekompakan dalam melalukan apapun. Kebersamaan dan kekompakan tersebut menciptakan kesatuan yang kokoh, teguh, dan tidak dapat tergoyahkan. Makna simbol iringan musik tari gendang baka adalah mengajak masyarakat Karo untuk melihat dan melestarikan kesenian tari gendang baka, dan mempengaruhi penikmat pertunjukan agar dapat merasakan keindahan tari gendang baka. Makna simbol dari pakaian pada tari gendang baka adalah kesucian, kebaikan, dan perlindungan, dikarenakan kain yang digunakan berwarna putih dan hitam yang dipercaya dapat menghalau segala yang tidak baik.  Kata Kunci : Makna Simbol, Tari Gendang Baka.

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