Скорость горения порошкообразного пористого кремния в условиях ограниченного пространства

The method of determination combustion rate of powdered porous silicon with limited space is presented. The values of the combustion rates of porous silicon are close to the values of the rates of explosives.

FIGURATIVE LANGUAGE USED IN SAUDI NEWS HEADLINES RELATED TO CORONAVIRUS (COVID-19)

Figurative language is a part of Stylistics and there was much research on how figurative language was used in different contexts. The present research aimed at analyzing the figurative language used in Saudi news headlines related to Coronavirus (COVID-19). A descriptive qualitative research design was used in this study. The data source of this study was the Saudi Press Agency (SPA), and the data were headlines related to Coronavirus (COVID-19) published from the period from February 15 to March 31, 2020. The obtained data from this study were organized, classified, and coded. The findings of this study revealed that there were seven speech figures used in this study ( personification, hyperbole, understatement, paradox, synecdoche, apostrophe, and metonymy). The most used speech figure was personification and the least used one was metonymy. Each type of these speech figures had its own function such as to expand meaning, create intense emotions, and express a lot in a limited space. The researcher provides some recommendations for future research work in order to get more insights and contributions to this topic.

Strefa kontaktu, czyli interaktywne relacje antropologa w terenie

Based on the classic concept developed by M.L. Pratt and the author’s experience of fieldwork in Africa, this article discusses methods of building a contact zone during anthropological field research. Under the conditions of such research, a limited space of mutual, lasting, interactive relations is created between the anthropologist and the local social environment. The contact zone understood in this way is produced discursively and practiced physically. The time factor and coordination of the anthropologist’s availa- bility with the rhythm of life in the studied community are paramount. The contact zone may have different scope and social depth – it will be shallow, scattered and short-lived in field research covering an extensive area, but will acquire an interactive depth during an “intensive habitation”, when an anthropologist shares everyday life with the studied community.

Cebuano Poetics: Deciphering the Advice of Maria Kabigon’s Column in Bisaya

Maria Alcordo Kabigon’s column “Ang Panid ni Manding Karya” in Bisaya from the late 1940s to the 1950s is considered as one of the momentous contributions of the Philippines’ oldest Cebuano language magazine. Kabigon used the pen name Manding Karya to advise letter senders, and the letter and advice were published after the war in Bisaya. On average, she received 20 letters per day for her column, with most letter senders being men. This article aims to expand the scope of Kabigon’s creative abilities by demonstrating her metaphorical language in her advice column, providing a variety of approaches to experience her poetic genius, and allowing her to connect more with her readers, particularly those from Visayas and Mindanao. By examining Kabigon’s writing style, it can answer how she epitomizes the popularity of her column as she is recognized as a professional adviser as well as a writer in Cebuano literature. The article investigates Kabigon’s pasumbingay or Cebuano poetics. Also, the advice of Kabigon was examined to convey its integration into Edith Tiempo’s restoration context: preserving the individual’s integrity, confirming ultimate values, defining significant purpose, and developing a reasonable worldview. This article used a qualitative research method that included descriptive research that conveyed a content analysis. The main source of the study, Kabigon’s “Panid ni Manding Karya,” can be found at the University of San Carlos, specifically at the Cebuano Studies Center. Kabigon makes use of nature to improve the poetic quality of her advice. When responding to a letter, she employs metaphors and symbolism to provide a brief but profound response. However, due to the limited space in her advice column, her responses are short. Despite the magazine’s limited space, her use of figurative language and symbolism suggests her solution to continue providing effective advice. As a result, her writing style promotes critical thinking as well as imagination.

واقع الحرية في الحضارات القديمة ومنطلقات ممارستها في المجتمعات الإسلامية المعاصرة (The Reality of Freedom in Past Civilizations and Its Practices in Contemporary Islamic Societies)

Historical reading of the actual picture of freedom in ancient civilizations and today’s realities indicates that the values of freedom and human rights have been violated. It also indicates that people have been subjugated by authoritarian regimes. The purpose of this research is to reflect on the actual reality of freedom in contemporary Islamic societies. To this effect, the study adopted a descriptive and historical approach using a survey to review the opinions of academics about freedom in contemporary Islamic societies. The study suggests that freedom is not granted easily but is rather obtained by force. It also indicates that freedom is inherent in human nature and it is often enhanced by persistence, enriched by satisfaction, and prescribed by good legislations. The opinions obtained by the survey also suggest that there exists an utterly insignificant and limited space of freedom in Islamic societies. To yield fruitful results in our contemporary life, freedom must be originated from the servitude to the Almighty Allah by adhering to the Islamic constants in the Quran and Prophetic traditions and referring to Islamic legislation in which all rights are protected without favor nor exception.

"Facci Lei!": Subtitling Humour in 'Fantozzi' (1975)

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975). The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling. By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>

"Facci Lei!": Subtitling Humour in 'Fantozzi' (1975)

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975). The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling. By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>

Deporting EU national offenders from the UK after Brexit: Moving from a system that recognises individuals, to one that sees only offenders

Deportation is a core state practice for the management and control of time-served foreign national offenders. Post-Brexit law changes mean that EU national offenders in the UK will become subject to the same deportation rules which apply to non-EU national offenders. This article argues that the law that applied to EU national offenders before Brexit, derived from the EU’s Citizens’ Rights Directive, was underpinned by a focus on the offender as an individual person. In contrast, UK deportation law that applies to third-country nationals, and to EU nationals after Brexit, sees only the label of ‘offender’. This argument is made by examining two important elements of the contrasting deportation laws: the permitted justifications for deportation and the importance of rehabilitation. On permitted justifications for deportation, the Citizens’ Rights Directive requires individualised rationales for deportation and prohibits justifications based solely on the fact of past offending. This future-orientation also encouraged UK courts to focus on the foreign national offender as an individual who is capable of rehabilitation and reform, whereas the UK’s post-Brexit rules justify deportation on the basis of the status of offender: a status that is determined by prior conviction, is hard to lose and makes limited space for considering the potential for rehabilitation.

Design of Portable Coffee Dryer in Kabawetan District, Kepahiang Regency

The statistical data of the Kepahiang Regency in 2018 shows that more than 90% of Kabawetan people worked in the agricultural sector as vegetable and coffee farmers. Due to the hilly morphology of the settlements, the settlement configurations should conform with the land contours. As the majority of the coffee farmers have limited land for drying the harvested coffee, portable architectural technology can then help overcome the problems with the limited house yard. This tool is used as a space for drying their coffee, especially during the rainy season. The method to transfer the portable coffee dryer design to the communities is by training them how to use the technology and introducing it with the help of props (prototypes). This introductory training was conducted for the Permata Sari farmer group in the farmer's house yard in Bukit Sari Village, Kabawetan District. The training activities included coordinating with the involved farmers, making coffee dryer designs, testing simple tools, and introducing the mobile coffee dryer technology to Permata Sari farmer group members in Bukit Sari Village, Kabawetan District Kepahiang Regency. Portable coffee dryers are urgently needed considering the contoured lands, limited space, and the frequency of rainy days in Kabawetan exceeds that of sunny days. However, this tool still requires further development, where it can be used as a sorting tool, particularly for sorting out the red pickled coffee that is dried using this tool.

The Processing of Catfish into Nuggets as a Business Opportunity during the Covid-19 Pandemic

Catfish is a food ingredient that is readily widespread and can easily be cultivated, although the community might have relatively limited space. Catfish may also provide several business opportunities for the community amidst the covid-19 pandemic. One potentially profitable business idea is to process catfish into nuggets because nuggets are popular among both children and adults alike. Nuggets can also be used as a practical substitute for side dishes. This activity aims to provide training on how to process catfish into nuggets for the women from PKK (Family Welfare Development/Pembinaan Kesejahteraan Keluarga) and cadre programs in Lidah Wetan Gang VI, Lakarsantri, Surabaya. The program was held in PPT CERIA RT 3 RW 3, Lidah Wetan Gang VI, Lakarsantri, Surabaya. Before the training, all the necessary permits and information were obtained to ensure the program's success. The training activity shows how the catfish nuggets have a shape and texture of typical nuggets with their taste like chicken nuggets. However, what makes the catfish nuggets unique is that they still retain a slight distinctive catfish taste. It is expected that this activity will benefit the community, especially those interested in the catfish processing business.