“Trivial Nonsense” of the Poor Heroes of Dostoevsky (Materials for “Dostoevsky’s Language Dictionary: Idioglossary”)

The paper represents lingvo-cultural and semiotic description of the vocabulary, which introduces the everyday life of the poor characters of the F. Dostoevskys novels. In this case the procedure of the construction of text associative fields and the concept of idiogloss are used. Associative text fields are built, from one side, around the base concepts of daily activity - HOUSE/DWELLING; CLOTHING; FOOD; MONEY, DEBTS, LOAN; DISEASE, DEATH; WORK, BUSINESS; and idioglosses POVERTY; SHAME; FEAR; PRIDE, THE PINCHED PRIDE; GENTLENESS - on the other hand. These two measurements - semantic and pragmatic - make it possible to reconstruct on the texts of Dostoevsky the everyday world of poor characters, to reveal those specific idiosenses, which are concluded in the lexical items being investigated. Besides, the author hopes that such description can become additional material for the creation of the corresponding articles of the Dostoevskys Language Dictionary, which is making now in the V.V. Vinigradov Russian Language University (Russian Science Academy). At the V.V. Vinogradov Russian Language University University of Russian Science Academy in the sector of experimental lexicography under the guidance of Corresponding Member of the Russian Science Academy, Professor Y.N. Karaulov, work on creation of the F.M. Dostoevskys Language Dictionary has been conducted for many years. At the same time, collections of articles are published - The Word of Dostoevsky, viewed as a kind of extension of Dostoevskys Language Dictionary. The authors of the collection should implement the overall thrust of the research results as a guide - the solution of interpretational, hermeneutic tasks. Meanwhile it is also important to identify and describe the vocabulary that is significant for interpretation of Dostoevskys texts and idioglosses in particular, i.e. such lexical units that are important for understanding, for deciphering and interpreting of the meaning of his literary works, for characterizing his authors style (idiostyle), for recreating his picture of the world, his universal and national ideals .

4. The arrow of time

‘The arrow of time’ discusses where the arrow of time comes from. The fundamental laws of motion do not distinguish past and future. And yet the everyday world is full of manifestly asymmetric processes. This chapter discusses the apparent mismatch between the fundamental laws of nature and the manifest asymmetry of the everyday world. The temporal asymmetry is made precise by the second law of thermodynamics and the tension between the second law and the fundamental laws is addressed by the development of statistical mechanics.

“A Thing of Dreams and Desires, a Siren, a Whisper, and a Seduction”: Mermaids and the seashore in H. G. Wells’s The Sea Lady: A Tissue of Moonshine

The Sea Lady (1901) is one of the more neglected early novels of H. G. Wells, particularly compared to his more famous scientific romances. Both a social satire and a mediation on the limits of human imagination, Wells’s only mermaid story has drawn surprisingly little attention as a mermaid story. The novel is highly intertextual with legends, written tales, and artwork about mermaids in the 19th Century, which, I argue, Wells deploys in pursuit of the narrative’s interests in gender politics, the critique of social conventions, and philosophical reflection on the possibility of reaching for greater knowledge. Traditional associations of mermaid figures with sexual and ontological transgression and with liminal zones of the sea and the seashore are used to invite reflection on late Victorian social practices around sea-bathing and clothing, as the mythological mermaid’s incursion into the real everyday world exposes its profound vulnerability to radical alternative ways of thinking and being.

Children's playful musicking: Peer culture within a day-care setting in Singapore

In the field of early childhood education, play has become synonymous with curriculum but is sometimes viewed narrowly as a pedagogical tool to enhance child development. However, it is known from a range of multidisciplinary work that child-initiated and child-guided forms and contexts of playing can offer rich insight into diversity in childhood(s), peer cultures and children's meaning-making. This article draws on an ethnographic study that was conducted in a full-day childcare centre in Singapore and focused on children's everyday world of self-initiated play, improvisation and peer culture. Specifically, it presents examples of songs and rhythmic chants created by a group of 4-year-olds . Such ‘musicking’ is a form of social play that illustrates children’s ways of teasing, relating with others and sense-making within their contemporary social world. The article argues for educators to look beyond the instrumental value of play in the preschool curriculum, inviting all to take some time to allow children's multifarious play activities to influence their adult sensibilities.

Humanoid Robotics

An automaton may be a automaton with its body form designed to give the body. the look could also be for purposeful functions, like interacting with human tools and environments, for experimental functions, like the study of two-footed locomotion, or for alternative functions. In general, automaton robots have a body, a head, two arms, and 2 legs, though' some sorts of automaton robots could model solely a part of the body, for instance, from the waist up. Some automaton robots even have heads designed to duplicate human face expression like eyes and mouths. Androids area unit automaton robots designed to aesthetically gibe humans. Humanoid robots square measure expected to exist and add a detailed relationship with people at large |individuals| personalities} within the everyday world and to serve the wants of physically unfit people. These robots should be ready to address the wide range of tasks and objects encountered in dynamic unstructured environments. robot robots for private use for old and disabled folks should be safe and simple to use. Therefore, robot robots would like a light-weight body, high flexibility, several forms of sensors and high intelligence. The victorious introduction of those robots into human environments can have confidence the event of human friendly part

Housekeeping and the Phantom Ordinary

This chapter shifts focus away from the luminous images of Housekeeping to the lived experiences of traumatic grief those images often veil. The lyrical beauty of Housekeeping offers stylistic reinforcement of a first-person narrative that seeks consolation in immaterial forms. Critical focus on the transfigured ordinary and its aesthetic compensations tends to substantiate rather than interrogate the project of Ruth, focusing on the vibrancy and vitality of the images that she conjures rather than her terrifying expulsion from the everyday. Haunted by memories of maternal presence and incapable of resurrecting her mother, Robinson’s protagonist attempts to write herself out of the everyday world and into the spectral landscape in which her mother continues to exist; rendering her own embodied existence in ghostly terms, Ruth situates herself in a phantom ordinary. Housekeeping, I argue, subtly interrogates Ruth’s substitution of aesthetic images for ordinary presence in a way that anticipates the dramatic collapse of aesthetic consolation in Robinson’s later fiction.

Anxiety and the Everyday in Lila

Although Lila seems to promise access to the interiority of a character whose life has unfolded under the stresses of poverty, abuse, and homelessness, the novel captures the rhythms of its protagonist’s existence through acts of narrative repetition and deflection that defend against intimacy. Lila’s inability to feel at home reflects a self-consciousness rooted in the trauma of childhood abandonment, violence, and forced sex work. The structure of the novel reflects Lila’s experiences of anxiety and shame by constantly revisiting her detachment from the lived world of the novel. The novel adopts a radical stance, replacing the narrative construction of Lila’s interiority with the disrupted rhythm of an everyday world that remains flat and inaccessible. This chapter explores why and how Lila refuses to lend the reader the intimate access to character or the heightened acts of perception that many critics see as characteristic of Robinson’s fiction.

Dances with Robots

What does it feel like to dance with a robot? How do you choreograph one? Working with robots during three artistic residencies and two research projects has raised questions about agency and generative processes, revealing how dancing with robots may provoke a more interanimate everyday world.