Paradigm shift in Education Sector amidst COVID-19 to improve Online Engagement

The study aims to identify social, intellectual and conceptual structures along with key areas, contributors, current dynamics and suggest future research directions in the field of engagement with e-learning systems. An objective analysis of a sample of 358 articles taken from the Web of Science database, supported by subjective assessments based on the research focused on the integration of management into e-learning domain. Citations and PageRank metrics were used to identify the most influential papers along with most influential authors. To understand the intellectual structure of the research area, a co-citation network was developed. The study may help to explore effective ways of delivering education during a crisis, while also taking a sustainable approach to the promotion of education through online methods. By understanding the behavior of learners towards various forms of content delivery, policy makers at national level can develop a framework to implement it nationwide.

Taking Up Thagard’s Challenge: A Formal Model of Conceptual Revision

Thagard (1992) presented a framework for conceptual change in science based on conceptual systems. Thagard challenged belief revision theorists, claiming that traditional belief-revision systems are able to model only the two most conservative types of changes in his framework, but not the more radical ones. The main aim of this work is to take up Thagard’s challenge, presenting a belief-revision-like system able to mirror radical types of conceptual change. We will do that with a conceptual revision system, i.e. a belief-revision-like system that takes conceptual structures as units of revisions. We will show how our conceptual revision and contraction operations satisfy analogous of the AGM postulates at the conceptual level and are able to mimic Thagard’s radical types of conceptual change.

ONYMIC SECTOR OF THE CONCEPTUAL SPHERE OF THE YOUNG-ADULT DYSTOPIAN NOVEL (case study S. COLLINS’ TRILOGY «THE HUNGER GAMES»

Introduction. The article examines the onymic parcel of the English young-adult dystopian novel conceptosphere based on the material of S. Collins’ trilogy «The Hunger Games». The theory of generations has proved the dominance of the main archetype of the hero for a circle of potential readers of the analyzed works, so the leading concept of dystopian novels is the concept of the hero around whom events take place, catalyst and initiator of which he acts. These protagonists are nominated by their own names, which serve as organizers of the artistic space. In the literary work onyms become the pillars of memory, the organizers of the mental lexicon, the coordinators of the mental world picture, the compact repository of significant information in a small form. The purpose. The purpose of the article is to analyze the onymic parcel of the English young-adult dystopian novel conceptosphere based on the material of S. Collins’ trilogy «The Hunger Games». The object is the onymic sector of the conceptosphere of the studied trilogy. The subject is the specifics of its structure and organization. Materials and methods. The analysis of the onymic parcel of the conceptosphere of the studied works was carried out in several stages: the cognitive features of the dominant onymic concept nominating the main character were established; a free associative experiment was conducted; systematized and described the reactions with the selection of their types; the most frequent associates are singled out, which are grouped into associative semantic gestalts. The material of the study was a trilogy «The Hunger Games» («The Hunger Games», «Catching Fire», «Mockingjay»), with a total volume of 1160 conditional pages. Results. An associative experiment with stimuli to denote the protagonists was conducted, which made it possible to establish the conceptualization and categorization of these anthroponyms in the mental lexicon of English speakers, detection of reflection in the received associations of hierarchical conceptual structures in the minds of respondents. Сonclusions. Summarizing the above, we can emphasize that the artistic onymic concept KATNISS of the onymic parcel of the conceptosphere of the trilogy «The Hunger Games» has cognitive features SACRIFICE, FEMININITY, HOPE, DEFENDER, VENGEANCE, WINNER and forms semantic associative gestalts THE MAIN CHARACTER OF THE NOVEL / FILM and NOVEL / FILM.

La concettualizzazione del verbo ‘mettere’ in italiano

The conceptualization of space is manifested in language through diverse linguistic structures. Space, one of the most significant analytical categories not only in linguistics, introduces a variety of senses and conceptual relations in the construction of communicative meaning. While there are several approaches to linguistic studies, the most obvious choice for this type of analysis seems to be Cognitive Linguistics, with some of its theoretical currents and the Cognitive Grammar of Ronald W. Langacker (1987, 1991a, 1991b, 1995, 2008) in particular. In his works, Langacker often refers to spatial and visual relationships that provide useful illustrations to depict different conceptual structures and relationships. Indeed, the relations between visual perception and conceptualization concerns numerous aspects of the semantics of natural language (E. Tabakowska, 1999: 59). The paper aims to analyse the concept of the Italian verb ‘mettere’ (‘to put’), apparently simple and yet, as it will be shown, rich and varied in meaning.

IMAGES OF EARTH: CONCEPTION OF GEOGRAPHICAL IMAGINATION IN DENIS COSGROVE’S CULTURAL GEOGRAPHY

«Географическое воображение» – это странное терминологическое сочетание. Оно может вызвать подозрение у академически респектабельной географии вследствие тех эпистемологических опасностей, которые оно, предположительно, несет. В статье анализируется понятие географического воображения в работах выдающегося британского культурного географа и историка картографии Дениса Косгроува (1948–2008). У Косгроува нет развернутой и систематической теории географического воображения, но оно является основной темой его многочисленных исследований. Вопрос о географическом воображении для Косгроува фундаментальный, так как воображение становится у него едва ли не «трансцендентальным условием» любого возможного географического акта как акта представимости Земли или отдельных ее частей в географических образах (картах, живописных полотнах, ландшафтах, фотографиях, городских планировках и парках, цифровых репрезентациях). В статье рассмотрено несколько основных характеристик географического воображения и обширного поля географической образности у Косгроува. Географические образы – это не некие сущности, спонтанно производимые «продуктивной способностью воображения» во внутреннем интерьере «картезианского театра» и остающиеся замкнутыми в границах его сцены. Географическое воображение – имя какого-то сложного механизма, работу которого нам трудно (если вообще возможно) понять и описать, в котором оказываются задействованы глаза, руки, мышление, технологии, и этот механизм порождает экстерналии (образы Земли). Географические образы формируют новые (эмпирически нереализуемые) горизонты наглядности, видимости и интеллигибельности. Например, карта, по словам Кристиана Жакоба, «представляет схему, визуальную и одновременно интеллектуальную, которая занимает место невозможного сенсорного видения». Географические образы – это одно из «привилегированных мест» (но и выражений) графических экспериментов, экспериментов воображения, в ходе которых отрабатывались и продолжают отрабатываться все новые условия видимости, представимости и мыслимости Земли. Географическое воображение – работа по визуальному представлению не только эмпирического порядка, но и концептуальных структур. Географический образ не может быть сведен к чистому и нейтральному представлению пространственных (географических) фактов. По отношению к уровню «фактов» он всегда демонстрирует смысловую и визуальную избыточность. Для Косгроува история географического воображения – это еще и история «инвестиций», которые сделали и продолжают делать в географическую образность людские желания, страхи, надежды, метафизические спекуляции, религиозные искания и моральная чувствительность. Рассмотренная в целом исследовательская работа Косгроува, центрированная на теме географического воображения, является одним большим актом онтологической, эпистемологической, культурной и даже этической реабилитации образов. “Geographical imagination” is a very strange terminological combination. It might arouse suspicion in academically respectable geography as a consequence of epistemological dangers it presumably posed. The article examines the concept of geographical imagination in the research works of the distinguished British cultural geographer and historian of cartography Denis Cosgrove (1948–2008). Cosgrove has no advanced and systematic theory of geographical imagination, but it is the main focus of his studies. For Cosgrove, the question about geographical imagination is fundamental since, in his cultural geography, imagination becomes virtually a “transcendental condition” of every geographical act as an act of representing Earth and its parts in various geographical images (maps, paintings, landscapes, photographs, urban plans and city parks, digital representations). The article considers some basic characteristics of geographical imagination and the rich field of geographical image in Cosgrove’s cultural geography. 1. Geographical images are not some entities, spontaneously generated by the “productive capacity of imagination” in the interior of the “Cartesian Theater” and remaining closed within the borders of its scene. Geographical imagination is a name of a complex mechanism, whose work we find so hard to understand and describe (if this is even possible). In this work, hands, eyes, minds, and technologies are involved. The mechanism of imagination generates externalia (images of Earth). 2. Geographical images create new (empirically unimplementable) horizons of visibility, conspicuity, and intelligibility. For example, according to Christian Jacob, “the map presents a schema, visual as well as intellectual, that takes the place of an impossible sensorial vision”. 3. Geographical images are one of the “privileged places”, and also expressions, of graphic experiments, experiments of imagination, during which new ways of seeing and thinking Earth have been tested and are being investigated further. Geographical imagination is work on visual representations of not only the empirical order, but also conceptual structures. 4. Geographical images cannot be reduced to pure and neutral representations of geographic facts. In relation to the “factual” level, it demonstrates visual and semantic redundancy. For Cosgrove, the history of geographical imagination is also the history of “investment” in geographical images that human fears, hopes, desires, metaphysical speculations, religious pursuits, and moral sensitivity make. Considered as a whole, Cosgrove’s research in the field of cultural geography is one big act of an ontological, epistemological, cultural, and even moral rehabilitation of images.

Research methodology for the emotion concepts reproduction of the English artistic works in Ukrainian translations

The paper explores the distinctive features of the study related to the specific representation of the emotion concepts. Several well-known approaches to the analysis of concepts based on the implementation of different research material are highlighted. The paper proposes a comprehensive methodology for the study and analysis of the linguacultural emotion concept of HAPPINESS, its artistic dynamics, based on the principles of integration of various scientific methods. The study enabled us to carry out a multifold description of the analyzed linguistic expression of the concept and to identify the specific features of the concepts in the English artistic discourse as well as in the Ukrainian translations. The complex and systematic approach to the study of an emotional concept is justified to serve as a characteristic feature of this methodology that attempts to identify textual functioning, structural features, emotive and valuable features of the concept. The study demonstrates that the effective use of provided methodology for the study of an artistic concept requires a special algorithm for the application of scientific methods in order to isolate and characterize the verbal expression of the content of the emotion concept. We consider the implementation of general scientific and empirical methods based on the principles of verbalization, objectification and interpretation of the linguacultural emotional concept for a systemic study of the conceptualization features of the concept. The methodology is represented by the example of a complex analysis of the specific features of the key components of the concept HAPPINESS, a verbal embodiment in a Fr. Sc. Fitzgerald’s piece of art ‒ “The Great Gatsby”. The proposed methodology contributed to the identification of 6 dominant conceptual structures in percentage terms and distinctive features of their artistic translation.

A learning method of trust building: beyond the performance management of artistic events

Purpose This paper aims to address a dilemma raised in the accounting literature on how managers of creative practices can produce and use accounting measurements that support employees’ self-determination to create whilst also building trust in them to work for the interests of the organisation. Design/methodology/approach Using pragmatic constructivism as a paradigmatic setting, the paper develops a learning method of trust building as a way for organisations to produce and use accounting measurements. Empirical analysis of the European Capital of Culture Aarhus 2017 demonstrates the method in action. Findings The study displays a learning method of trust building as an effective way for organisations to account for their creative practices without intruding on the creative process of the people involved. The method involves proactive judgement and pragmatic observation of the trustworthiness of the actors’ language games, construction of quality in the conceptual structures of management narratives and measurement models, and learning that narrows the gap between the actors’ proactive judgement and the pragmatic observation of trustworthiness. Through such processes, including principles of truth, dialogical interactions, ongoing reflections and co-authorship, trust can be built in self-determining, creative actors to drive intentional results. Research limitations/implications The learning method of trust building extends the literature on trust building and on knowledge processes of performance measurement of actors in creative practices. Originality/value This is the first attempt in the accounting literature to develop a learning method of trust building.

Concepts People and Power in Russian and Spanish Electoral Discourse

Political communication becomes particularly intense in the pre-election period. Democracy receives criticism aimed to protect the interests of citizens. It is political parties that are responsible for a constructive discussion of their positions and motivating citizens to participate in the election campaign. Te electoral language is usually an emotional, connotative language, which resonates with citizens. Political electoral discourse is characterized by certain basic concepts, such as “politics”, “election”, “electoral programs”, “electorate”, “people”, “power” and others. “People” and “power” are the key ones, since they reflect the features of political process and are inextricably linked to each other during all electoral period. Tis article focuses on the study of the people / power opposition in the Russian and Spanish electoral discourse and identifes conceptual structures and signs of these concepts.

E-Participation Within E-Government

Through a bibliometric approach, this paper presents the results of a systematic review of the literature pertaining to e-participation and e-government. The objective of the review was to map the evolution of the current literature and identify the leading sources of knowledge in terms of the most influential journals, authors, and articles. From a total of 235 relevant articles, selected from the Scopus database, detailed citation analysis was conducted. The analysis of citation data showed that Government Information Quarterly is the leading journal in e-participation research. Lee Jooho was found to be the leading author in this field in terms of a total number of publications, total citations, and h-index, while the most cited article was authored by Vicente and Novo in 2014. The study further explored the conceptual structures such as word cloud, word dynamic trends, co-word analysis, and bibliometric coupling to show the trends. The contribution of this study is to clearly outline the current state of knowledge regarding e-participation and e-government services in the literature.