Художественный космос как предмет толкования

Transgressive Women, Transworld Women

An isolated electric charge, in the form of an indestructible spherical shell of radius a, has its straight and radial electric fields pulling the surface charge equally outwards, directed from the center, to maintain an equilibrium. Any imbalance in the field lines of force causes the charge to move, with acceleration, in the direction of the resultant force. The field lines of adjacent charges become curved to make for the force of repulsion or attraction. It is proposed that the electric field lines from a charge open out slightly, on encountering a like charge in space, thereby reducing the force of repulsion. The field lines close in slightly, against an unlike charge, to increase the force of attraction. Thus, there is a net force of attraction between two neutral bodies composed of equal numbers of positive and negative charges. For a neutral body, the strong electrical forces of repulsion and attraction, proportional to the magnitude of a charge, in accordance with Coulomb’s law, cancel out everywhere. The weak gravitational forces of attraction, proportional to the mass of a charge, which is also proportional to the square of magnitude of a charge, in accordance with Newton’s law, remain and add up. It is shown that gravity is a pulling force of attraction and an electrical property emanating from a body, not a result of curvature of empty space surrounding the body, as envisaged by the theory of general relativity.

Molecular simulations in the canonical and isothermal-isobaric ensembles were performed to study the effect of varying the shape of the intermolecular potential on the phase diagram, critical, and interfacial properties of model fluids. The molecular interactions were modeled by the Approximate Non-Conformal (ANC) theory potentials. Unlike the Lennard-Jones or Morse potentials, the ANC interactions incorporate parameters (called softnesses) that modulate the steepness of the potential in their repulsive and attractive parts independently. This feature allowed us to separate unambiguously the role of each region of the potential on setting the thermophysical properties. In particular, we found positive linear correlation between all critical coordinates and the attractive and repulsive softness, except for the critical density and the attractive softness which are negatively correlated. Moreover, we found that the physical properties related to phase coexistence (such as span of the liquid phase between the critical and triple points, variations in the P-T vaporization curve, interface width, and surface tension) are more sensitive to changes in the attractive softness than to the repulsive one. Understanding the different roles of attractive and repulsive forces on phase coexistence may contribute to developing more accurate models of liquids and their mixtures.

Kundera's characters have always struggled both with images and identities they have constructed for themselves and that others have constructed for them. Since Milan Kundera's emigration to France, much of his fiction has explored such struggles through dialogical split between youthful characters who live in the fragile world of lyrical self-expression and definition, and cynical narrator, literary representative of the author, who resides in world of political realities and external definition of individuals. As readers have become used to Kundera's technique of self disclosing narrative, many have quite naturally associated the Kundera who inhabits his fiction with the writer himself. Nesmrtelnost (Immortality, 1991) does not accept such familiarity between reader and author; the novel seems to shake finger at those who confuse writer with the image created through his or her work. This is accomplished by implicating the falsity of human perception in both seemingly real and visibly fictional worlds through the juxtaposition of the plausible against the artificial and by drawing attention to our subjectivity in reference to early formalist polemics. Self-disclosing narratives such as those employed by Kundera function by making what is normally covert, overt. Fiction becomes game between author and reader. Immortality plays with the reader's perceptions by creating three tiered fictional world which consists of what appear to be three possible worlds. The first, the world of the self disclosing narrator, Milan Kundera, is the highly believable and recognizable world of contemporary Paris. It is this world that seems to guide the reader through the text. The second, the world of the characters, is avowedly artificial, though it is born out of familiar elements brought from the first world. Immorality's third possible world is the amorphous realm of the immortals where the likes of Hemmingway and Goethe meet to discuss their fates, i.e., images of them constructed out of popular opinion. The novel's narrator gains our trust as readers, and then shocks us by allowing the three tiers to collide, thus drawing attention to the artificiality of all fictional worlds, as well as the frailty of our perceptions in the actual world. Kundera's narrators typically provide background material regarding pertinent historical and literary information. In the case of Immortality, the novel is peppered with myriad allusions to twentieth-century literary polemics, in particular certain ideas of the Russian formalist Viktor Shklovsky. Shklovsky sought to combat nineteenth-century Positivism and the often quoted and, to be fair, misquoted, ideas of Potebnya's is thinking in images.3 In the fictional world of Immortality, characters think and view literature and the world around them in terms of images. The narration, however, is constructed in terms of Shklovsky's ideals for art as propounded in Art as Device. Shklovsky's argument, briefly stated, is that the habitual way of thinking is to make the unfamiliar as easily digestible as possible. Normally our perceptions are automatic, which is way of saying that they are minimal... Since perception is usually too automatic, art develops variety of techniques to impede perception, or at least to call attention to themselves.4 It is in this study that Shklovsky identified series of literary devices that shaped the way generation of scholars read literature and writers composed fiction. Such devices are employed in Immortality in self-conscious manner. These techniques include: ostranenie (defamiliarization), a device by which phenomenon is taken out of its conventional context so that it may once again be seen, not merely recognized; zatrudnennaia forma (defacilitation), any device that forces the reader or listener to follow the text with an intense conscious effort and to wonder about its meaning..., and (lastly) obnazhennie priema (laying bare the device). …

Fictional texts might present storyworlds that include both human characters and omnipresent characters. When they share the same ontological plane the specific dynamic occurs between them. Furthermore omnipresent characters may be able to transgress a singular plane, in consequence making the whole storyworld appear more complex, but also seem less coherent. This essay focuses on the case of Judge Holden, the antagonist of Cormac McCarthy’s novel Blood Meridian, in order to dissect the role of an omnipresent character within the fictional world. The introduction contextualizes the figure of an omnipresent character, by explicating its nature on the background of other texts and their characters. Applying the possible worlds theory adapted by literary theorist Marie-Laure Ryan serves as the adequate means of analysis. Her take on possible worlds theory enables to make a clear distinctions between ontological planes that an omnipresent character occupies and define what it means for the reader.

Experiments and three-dimensional direct numerical simulations were performed to investigate the effects of physical parameters on the repulsion or attraction force affecting the motion of a particle oscillating near a solid wall of a fluid cell under microgravity. The following physical parameters were investigated: fluid cell amplitude, fluid and particle densities, angular frequency of the cell vibration, initial distance between the particle centroid and the closest cell wall, particle radius, and dynamic viscosity. Based on the simulations, a nondimensional relation was developed to relate those physical parameters to the repulsion or attraction force affecting the particle. The relation shows that the repulsion or attraction force is increased by the increase in the cell vibration amplitude and frequency and also the force direction would change from attraction to repulsion above a threshold fluid viscosity. Relations to other physical parameters were also studied and are reported. This paper follows our previous work on the physical mechanism of observed repulsion force on a particle in a viscous fluid cell [M. Saadatmand and M. Kawaji, Phys. Rev. E 88, 023019 (2013)].

This chapter describes how technology, progressing rapidly, and especially computer technology has become an indispensable detail in daily life. The act of playing games starting to become virtual has emerged as a progress. In these early years, when the line between place and space has started to become thinner and people began to recognize the lines of flight between the real world and the virtual world, the movie “Tron” made an attempt to explain this possibility of transitivity. 28 years after the first movie, the sequel “Tron Legacy” emphasizes that this possibility still exists. The individual, in this sea of possibilities, comes and goes between place and space and becomes distant to their temporal context, digitalized and goes through deterritorialization. The narrative of the fictional world, the game world in this fictional world, the real world and the game field in the real world will be discussed in terms of transmedia, and some assumptions will be put forward through people and therefore, the deterritorialization of the media.

For Merleau-Ponty and Maldiney, the world of the pictorial image is “an almost crazy world” and a world of “confused sensations”. However, it is not only an illusory and chimeric world, cut off from the real world. Indeed, far from distancing us from the real world, this craziness and this confusion bring us back to it. The objective of this essay is therefore to question the relationship between pictorial art and the real (not fictional or imaginary) world. Certainly, the pictorial work of art makes us return “to the things themselves”, because it establishes a conversion of the gaze and a metamorphosis of the visible. But one can ask if this conversion of the gaze does not reverse the movement of phenomenological “reduction” as described by Edmund Husserl, since it plunges us into the very heart of the world and does not imply any abstention or abstraction. For Maldiney as for Merleau-Ponty, painting reveals our original being-in-the-world, so that it will be necessary to elucidate what it means exactly. Moreover, we will investigate the role of style and rhythm as well as the role of color and the line in order to describe more precisely the connection between the world and the work of art, between continuity and discontinuity. Finally, we will propose another meaning of the word “image” in order to highlight the ethical function of the image thus understood.

The article considers time as the most important semiotic and linguopoetical category of a literary text. The text of A. Kabakov's novel “The Defector (Nevozvrashchenets)” is used to analyse the structure of the temporal category in its semiotic dimensions, namely semantics and pragmatics. It is shown that the contents of semantic fields, which reflect the category of time in the novel, the intersec-tion and interplay between these fields and pragmatic relations based on author's attitudes and reader's interpretation, establish a multi-layered, hierarchical structure of temporality in the fictional text. Moreover, the semantics of fictional time is primarily explained by lexico-grammatical and syntactic linguistic units, while, in terms of pragmatics, the crucial modes of expression are the text organization and the context of the author's intention and the reader's perception. Thus, it is emphasized that the time within fictional text is broader than the time in the language. The results of the text analysis demonstrate how important it is to examine fictional texts from the semiotic viewpoint. It appears that a simultaneous considering of semantics and pragmatics of a text and their correlation and interaction permits us to go beyond the “narrow” grammatical opinion when analys-ing such a complex text category as the time. Taking in consideration linguistic, philosophical, cultural and socio-historical contexts, the researcher expands the boundaries of analysis, increases its authenticity and obtains an opportunity to disclose and interpret all the meanings embedded by the author.

Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

The review is dedicated to the book written by a Doctor of Philological Sciences, Professor, Head of the Department of History of Slavic literatures at the Institute of Slavic Studies of the Russian Academy of Sciences, Head of the Department of Slavic studies and Central European studies at the Russian State University for the Humanities, member of the Union of Writers of Russia, a well-known science fiction scholar, and president of the Association of Science Fiction Researchers, E. N. Kovtun. The book is structured like a guide, presenting a gallery of afterlife worlds as envisioned by the human soul. The research draws on works by science fiction writers from the 20th and 21st centuries, representing literary traditions of Russia, Western Europe, and the USA. This review analyzes the key aspects of E. N. Kovtun’s research, highlighting her innovative approach to the study of science fiction and fantasy literature. It outlines the diverse perspectives through which she examines these genres, ranging from the artistic representation of the Afterlife World to the motifs that connect various locations, geographical elements, and landscapes within afterlife narratives. The review emphasizes the validity of Kovtun’s methodology, particularly her exploration of the Afterlife chronotope and the behavioral strategies of characters on the brink of crossing the divide between the living and the dead. Her analytical framework enables a multifaceted examination of selected texts, allowing for an objective assessment of the essential qualities and characteristics of the Afterlife. While commonalities emerge through intertextual connections, distinct national and aesthetic features are also evident. Kovtun seeks to interpret a wide array of works through the lens of their poetics. This monograph serves as a significant resource for researchers interested in theoretical literary issues. It weaves together reflections on chronotopes, plot structures, character types, fictional worlds, and authorial intent. Overall, Kovtun successfully achieves her primary objective: to define and “justify” the role of fantasy in contemporary literature and to explain its appeal to a large adult audience. This review is intended for a broad readership, including philologists, literary scholars, and anyone interested in science fiction, fantasy, and themes of the afterlife.

Cultural relevance of validation during mathematical modeling and word problem-solving: Reconceptualizing validation as an integration of possible fictional worlds

In the present study, we numerically calculated the magnetic levitation force for superconductor assisted machining (SUAM) using the finite element method. Although we usually use bulk superconductors for magnetic levitation in SUAM, we herein considered magnetic levitation using superconductor-coated conductors. We were able to explain the experimental results on the forces of the coated conductors as well as bulk theoretically. For both bulk and coated conductor, the repulsive force was found to increase as the distance from the permanent magnet became shorter. For the coated materials, both the repulsive and attractive forces were lower than in the case of bulk superconductors. This is because the volume of superconducting material was smaller than in the case of bulk superconductors, since the overall size of both materials was the same. However, we believe that greater forces can be obtained by increasing the number of coated conductors.

Artificial atoms, such as quantum corrals, offer an excellent platform to study fundamental interactions between localized quantum states and nanoscale probes. We performed atomic force microscopy measurements inside square quantum corrals on Cu(111) using CO- and metal-terminated tips. Using chemically unreactive CO-terminated tips, repulsive Pauli forces can be probed, while metallic tips are attracted to the localized quantum states due to chemical bonding. We found distinct exponential decay constants of $(46\ifmmode\pm\else\textpm\fi{}6)$ pm for the repulsive and $(66\ifmmode\pm\else\textpm\fi{}5)$ pm for the attractive forces. Attractive and repulsive interactions between two natural atoms show significantly shorter decay lengths. While natural atoms feature states with a broad range of decay lengths, including very short ones from deeply bound states, quantum corrals are lacking such deeply bound and highly localized states, resulting in longer decay lengths. These results offer an alternate route to understanding and designing atomic-scale interactions in low-dimensional quantum structures and devices.

Interactions between dissimilar surfaces in high ionic strength solutions as determined by atomic force microscopy