Miskonsepsi Siswa pada Pemahaman Konsep Bangun Ruang

The purpose of this study is to describe 8th-grade students’ misconceptions in solving surface area and volume of beam and cube problems and their causal factors. This is qualitative descriptive research. Based on the research, students’ misconceptions in solving surface area and volume of beam and cube problems are misconceptions on the concept of a beam, misconceptions on the concept of the cube, misconceptions on the concept of prerequisite material, misconceptions on unit comprehension, misconceptions on the understanding of meaning, and misconceptions on sign and number operations. While the causal factors of misconception are students’ assumptions about the lack of importance of concepts so students only memorize formulas, students are not able to associate one concept with other concepts, lack of understanding concepts in prerequisite material, misunderstanding the meaning of words in a problem, students have difficulty understanding pictures., misunderstanding the difference in the size of area and length.

Demographic and Metacognitive Variations among Female University Students in the Arabian Gulf

This study examined the presence of significant associations among demographics (i.e., monthly income and the number of family members) and metacognition (i.e., understanding pictures representing real-life situations and objects) between two groups (N = 112) of female university students with and without niqab (i.e., only the eyes were visible). It also explored if there were significant differences between the two groups in metacognition. Participants responded to a computerized metacognitive instrument. Correlation results revealed that the females who wore niqab were significantly and more likely to have more family members and less income when compared with the females without niqab. ANOVA analysis showed no significant differences between the students with and without niqab on the metacognitive test, in reaction time (i.e.,duration in seconds), and on the metacognitive test scores divided by the mean of the reaction times. Implications and limitations are discussed.

An Efficient Component based Analysis of Optical Character Recognition

Optical character acknowledgment alludes to the way toward understanding pictures of written by hand, typescript, or printed content into an arrangement comprehended by machines for the motivation behind modifying, ordering/looking, and to reduce size. Optical character acknowledgment is the understanding of pictures of written by hand, typescript or printed content into machine-editable content by mechanically or electronically. The purpose of the present hypothesis is to find the numbers and English letter sets picture of times new roman, Arial, Arial square size of 72, 48 by using imperative part examination. Head Components Analysis (PCA) is a functional and standard measurable instrument in current information examination that has discovered application in various zones, for example, face acknowledgment, picture pressure and neuroscience. It has been called one of the most valuable outcomes from connected straight polynomial math. PCA is a clear, non-parametric technique for splitting appropriate data from confounding instructive indexes.

Ilustracja książek dla dzieci jako źródło dylematów tłumacza - na przykładzie dwóch niemieckich przekładów Le Petit Prince Antoine’a de Saint-Exupéry’ego

The article deals with translator’s dilemmas in the context of picturebooks on the example of the new translations of the French classic “Le Petit Prince” by Antoine de Saint-Exupéry. Given the intermedia character or illustrated books for children, their translation is a very demanding task. It requires ‘visual literacy’, the ability of ‘reading’ and understanding pictures. The way, in which the translators cope with the interplay between the verbal and the visual, so essential for picturebooks, allows to discern their translation strategies. The examined examples point out the discrepancies between domesticating translation and the original illustrations and also the impact of new illustration on the target text. The example of Hans Magnus Enzensberger shows to what extent the original illustrations can be a disruptive factor in adapting translation, so that the only solution is to ignore the intermedia character of the source text. Such manipulation results in the empoverishment of the text. In the case of Peter Sloterdijk his demand for new illustrations can be considered as a consequence of the re-contextualization, that can be observed in his translation.

Back to the Human in John Logan’s “Red”

Laureate play “Red,” by John Logan, is a dramatic representation of biographical facts about and intellectual positions of the Abstract Expressionist painter Mark Rothko (1903–1970). With the tool of semiotic methodology named “Dramatology” it is possible to appreciate both text and staging – which go beyond a theatrical experience. “Red” leads the reader/spectator to question current human pragmatism and environmental insensitivity. Its main character wants to change the usual perspective of seeing and understanding pictures in order to achieve a more emotional and enriching art experience. The staging embraces certain tasks such as the construction of a large-format frame and the application of red paint on a canvas to stimulate the audience’s senses, breaking theatrical illusion. Ecocriticism allows us to describe the dramatic strategies of “Red” that raise audience awareness.

Percevoir et reconnaître des symboles : La théorie de la représentation iconique de Dominic Lopes

Dans ses travaux sur la valeur épistémique des images (Understanding Pictures, 1996), Dominic Lopes (Département de philosophie, Université de Colombie Britannique) développe une esthétique analytique essentiellement tournée vers la représentation iconique, pour la compréhension de laquelle il confronte généralement deux modèles. Selon le premier de ces modèles, inspiré d’une approche perceptuelle comme celle de Richard Wollheim, les images dépendent de processus perceptifs (le perceptualisme repose sur l’idée d’une « ressemblance » entre l’image et ce qu’elle représente). Le défaut de ce modèle serait néanmoins de se fier de manière trop naïve au caractère naturel de la perception. La représentation iconique ne peut pas être expliquée par la seule perception, la vision étant bien entendu informée par les dimensions culturelle et surtout cognitive. En ce sens — et il faudra dans les lignes qui suivent pouvoir montrer pourquoi —, la reconnaissance iconique diffère de la reconnaissance visuelle ordinaire. Selon le deuxième modèle, qui mobilise les outils d’une approche symbolique comme celle de Nelson Goodman, la représentation iconique fonctionne en analogie avec d’autres types de symboles, notamment linguistiques. Une telle approche part des similitudes entre les images et le langage, en tant que représentations fonctionnant semblablement par dénotation et prédication. Or, on connaît les résistances actuelles des théoriciens de l’image à l’égard du paradigme langagier : le risque d’une confrontation avec le langage serait — selon certains défenseurs de l’iconic turn — de perdre la densité sémantique de l’image, au profit d’une « simple » capacité descriptive. Entre ces deux voies, D. Lopes développe sa « théorie de la reconnaissance d’aspect », qui incorpore des éléments perceptifs à une structure de compréhension symbolique. Si les images appartiennent bien à des systèmes symboliques de dénotation, « il est possible qu’elles soient des symboles dont la référence dépend de l’exercice d’aptitudes perceptives ». Mon article voudrait étudier cette proposition. La théorie de Lopes permet d’expliquer l’acquisition de compétences (capacités de reconnaître) par les images, et de montrer comment les images installent progressivement ces compétences.