Transposition Effects in an Aksharic Writing System: The Case of Hindi

We tested for transposition effects (TEs) in Hindi (a Modern Indo-Aryan language) using unprimed lexical decision. TEs are defined as less accurate and slower responses to transposed-nonwords (e.g., ‹psate›, formed from base-word ‹paste›) than corresponding replaced-nonwords (e.g., ‹pzute›). In Hindi’s orthography, letters map transparently to phonemes (except schwa), but the letters are arranged into “akshars,” (‹[Cn]V›) which encode open syllables. This formal characteristic makes Hindi’s orthography typologically “aksharic.” We used TEs to determine whether the orthography’s typological units, letters and akshars, are also functional units for readers. We conducted three visual word recognition experiments with adult readers whose native language was Hindi. In Experiment 1, we found TEs for consonant (‹C›) and matra (‹M›, a vowel diacritic) letters, using different stimulus sets for each type of transposition. In the next two experiments, we used the same base words to form all of the transposed and replaced items. In Experiment 2, we replicated the findings of Experiment 1 in a different stimulus set; additionally, we found TEs for transpositions between a ‹C› letter and a ‹CM› akshar. In Experiment 3, we replicated results of the first two experiments by finding TEs for both consonants and matras in another stimulus set; additionally, we found similar TEs for ‹CM› akshars. These results show that ‹C› and ‹M› letters are functional units for Hindi readers; the transposition results for ‹CM› akshars are tentative. TEs for letters show that the aksharic grouping of letters does not prevent readers from decoding the constituent letters of akshars. Hindi is read alphabetically.

Ideology, Ethnicity, and Performativity in Eudora Welty’s Losing Battles

This chapter evaluates Losing Battles as a response to Civil Rights ferment, regarding the novel broadly through the prisms of Eagletonian Marxism and speech act theory. The analysis argues that the text’s primary formal characteristic, its epic blending of scores of vocal performances, typically spoken by senior members of the Beecham-Renfro family, disseminates and enforces a range of ideological conformities, including but not limited to those policing ethnicity. Through the delivery of these speeches, characters engage inadvertently or otherwise in speech acts that traumatize and dominate and reproduce chauvinistic and belligerent cultural narratives. Namely, Losing Battles reveals the mechanism of Althusserian interpellation as it operates in southern culture; however, outsiders and even a few insiders escape the authority of received ideas and, therefore, reveal emancipatory potential.

Regards, frayeurs et points de suspension dans L’Oiseau Bleu de Maurice Maeterlinck

La célebre obra de teatro L’Oiseau Bleu del Nobel belga de literatura Maurice Maeterlinck suscita desde hace más de un siglo un enorme interés por parte de realizadores y directores de cine, creadores de todo tipo y críticos. Sus distintas facetas como cuento de hadas mágico, simbólico y metafísico hacen de este texto una obra entrañable y sorprendente. A partir del léxico, me propongo estudiar la importancia de la vista y del miedo en el texto: los términos para designar estas dos nociones son extremadamente abundantes, lo que revela ciertas intenciones por parte del autor. Trataré de descubrirlas, para después examinar una característica formal poco corriente, la multiplicidad de los puntos suspensivos, señal de una preocupación que merece ser analizada. The very famous play L’Oiseau Bleu, by the Belgian Literature Nobel Prize Maurice Maeterlinck, has been of significant interest for more than a century among theatre and film directors, art creators of all kinds and critics. Its different facets of fairy, symbolic and metaphysical tale make it a charming and surprising play. Examining the vocabulary, I’ll study the importance of sight and fear in this text: the words that describe these two notions are superabundant, which reveals some intentions on the part of the author. After trying to find them out, I’ll analyse an unusual formal characteristic in the text: the countless suspension points. La célebre obra de teatro L’Oiseau Bleu del Nobel belga de literatura Maurice Maeterlinck suscita desde hace más de un siglo un enorme interés por parte de realizadores y directores de cine, creadores de todo tipo y críticos. Sus distintas facetas como cuento de hadas mágico, simbólico y metafísico hacen de este texto una obra entrañable y sorprendente. A partir del léxico, me propongo estudiar la importancia de la vista y del miedo en el texto: los términos para designar estas dos nociones son extremadamente abundantes, lo que revela ciertas intenciones por parte del autor. Trataré de descubrirlas, para después examinar una característica formal poco corriente, la multiplicidad de los puntos suspensivos, señal de una preocupación que merece ser analizada.

THE CHARACTERISTIC OF CORRIDOR STREET SPACE CASE STUDY: THE CORRIDOR OF JALAN VETERAN PENGGAL KLENTENG – JALAN SIMPANG ULIN

<div class="page" title="Page 1"><div class="section"><div class="section"><div class="layoutArea"><div class="column"><p><span>The street space is a part of urban public spaces. The various functions of street space in generally are as a mode of transporting space, as shared space for citizens and also as an architectural expression of spaces that contain the collective memory of its citizens. This research is focusing on the uniqueness of the street networks and canals in the city of Banjarmasin. Further, exploration of the combination of streets and canals is done </span>to get the spatial characteristics.</p></div></div></div><div class="section"><div class="layoutArea"><div class="column"><p><span>The purpose of this research is to determine how and why the street spaces changed and what components have influenced the characteristics of the space in the city of Banjarmasin. This research uses an empirism paradigm with the case study method focusing on the corridor of Jalan Veteran. The analytical method used is to discover street spaces in both two (2) and three (3) dimensional perspectives. Simplification and categorization patterns conducted to reveal the main characteristics of the </span>street spaces.</p></div></div></div><div class="section"><div class="layoutArea"><div class="column"><p><span>The findings of the study show that the formal and informal characters of each street space influence the growth rate of the buildings, the changing face of the region, and the shift of the old buildings into the new ones. Double canals are known as formal characteristic and single canals are known as informal ones. The chanal elements in the street spaces have a big influence to change the street</span>spaces' characteristic.</p></div></div></div></div><div class="layoutArea"><div class="column"><p><span>Keywords</span><span>: </span><span>characteristic, street space, </span>space transformation, canal </p></div></div></div>

THE CHARACTERISTIC OF CORRIDOR STREET SPACE CASE STUDY: THE CORRIDOR OF JALAN VETERAN PENGGAL KLENTENG – JALAN SIMPANG ULIN

<p><em>The street space is </em><em>a part</em><em> of urban public spaces.</em><em> </em><em>The</em><em> </em><em>vari</em><em>ous</em><em> functions of street space in generally are as </em><em>a </em><em>mode of transporting space, as shared space for citizens and also as an architectural expression of spaces that contain the collective memory of its citizens. This research is focusing </em><em>on</em><em> the uniqueness of the street networks and can</em><em>a</em><em>ls in the city of Banjarmasin. Further</em><em>,</em><em> exploration of </em><em>the </em><em>combination </em><em>of </em><em>streets and can</em><em>a</em><em>ls </em><em>is done </em><em>to get the spatial characteristics. </em><em></em></p><p><em>The purpose of this research is to determine how and why the street spaces changed and what components </em><em>have </em><em>influenced the characteristics of the space in the city of Banjarmasin. This research uses an empirism paradigm with the case study method</em><em> focusing on</em><em> </em><em>the </em><em>corridor of Jalan Veteran. The analytical method used is </em><em>to discover</em><em> street spaces </em><em>in both</em><em> two (2) </em><em>and </em><em> three (3) dimensional</em><em> perspectives</em><em>. Simplification and categorization pattern</em><em>s</em><em> </em><em>conducted </em><em>to </em><em>reveal </em><em>the main characteristics of the street spaces. </em><em></em></p><p><em>The findings of the study show that </em><em>the formal and informal characters of each street space influence the growth rate of the buildings, the changing face of the region, and the </em><em>shift</em><em> </em><em>of the </em><em>old buildings </em><em>into</em><em> </em><em>the </em><em>new ones. D</em><em>ouble</em><em> c</em><em>a</em><em>n</em><em>a</em><em>ls are known as formal characteristic and single c</em><em>anals</em><em> are known as informal </em><em>ones</em><em>. The chan</em><em>a</em><em>l elements in </em><em>the </em><em>street spaces have</em><em> a</em><em> big influence to change the street spaces' characteristic.</em><em></em></p><p> </p><p><em>Keywords</em>: <em>characteristic, street space, space transformation, canal</em></p>

Culture as Self-Perception

An attempt is made to operationalize the content of the “culture” concept in cultural-historical psychology. It is demonstrated that within its framework the culture appears to be a “social environment”, a system of social standards, rather than mediator of human freedom, as a way of self-perception of a man, which helps to reveal creative potential. According to the author, culture as self-perception, its genesis in this capacity, which results in the development of free man, is the basic idea of cultural-historical psychology. It is noted that culture, both historically and ontogenically, at least, in current historical settings, is initially created in personal form, only this enables it to acquire social significance. Culture does not only bring people together based on some formal characteristic, and within it people become significant for each other. The role of imagination in the formation of self-perception is discussed. An assumption on the availability of genetic relation between imagination and spontaneity is put forward. At that, special emphasis is placed on “experiments on consciousness”, including in the form of inversion, which are conducted by means of art.

The Mashups of YouTube

This article focuses on YouTube mashups and how we can understand them as a specific subgenre on YouTube. The Mashups are analysed as audiovisual recontextualizations that are given new meaning, e.g., via collaborative social communities or for individual promotional purposes. This is elaborated on throughout a discussion on Mashups as a mode of everyday bricolages, which are moreover discussed through a theoretical approach to Mashups as exponents of what has been called “Vernacular Creativity”. The article also argues that the novelty of Mashups is not be found in its formal characteristic, but rather in its social and communicative abilities within the YouTube community. This leads to the article’s overall argument that the main characteristic of the YouTube Mashup can be explained in terms of connectivity. It is argued that Mashups reveal a double articulation of connectivity; one that involves the social mechanisms of the Mashups, and another mode, which concerns the explicit embedding of structural connectivity that accentuates the medium-specific infrastructure of YouTube. This double articulation of connectivity is furthermore elaborated on by including Grusin and Bolter’s concept of remediation. Methodologically, the article draws on empirical observations and examples of Mashups are included to demonstrate the article’s main arguments.

“The Princess and the Pea”

The paper concerns sensory sensitivity (SS), a formal characteristic of behavior Strelau introduced in his regulative theory of temperament (RTT). SS is the ability to react to sensory stimuli of low stimulatory value. It contributes to the regulation of stimulation by setting thresholds for the stimulatory input an individual is able to react to. Strelau’s recognition of the orthogonal character of SS and emotional reactivity is the strength of the theoretical concept of SS. However, this approach fails to give the multimodality of sensory perception and the relationship of SS to attention sufficient consideration. References to other theories of sensitivity and the relevant empirical findings shed light on the theoretical and functional value of Strelau’s concept of SS. Both the theory and the corresponding SS scale in the Formal Characteristics of Behavior – Temperament Inventory (FCB-TI) reveal certain weaknesses. This paper presents a critical approach to both the theoretical approach to SS in the RTT and its operationalization. It gives suggestions for the revision of the theoretical construct of SS and of its psychometric measure. Recognizing the multiple sense-specific sensitivities would transform the concept of SS into a configuration of modality-specific sensitivities and produce an individual sensitivity profile.