Unreal Time Research Articles

Художественное время в рассказе М. Кунафина «В деревню явится Аллах... или остановившееся время»

The article examines the artistic time and the features of its image, presented in the story of the Bashkir writer M. Kunafin. The purpose of the research is to identify the peculiar forms of the image of artistic time, to reveal its meaning to denote the creative task of the writer. The material for the analysis was the story «Allah will come to the village... Or Stopped time». To achieve this goal, cultural-historical and comparative methods were used. The scientific novelty lies in the study of the concept of time in M. Kunafin’s story. The analysis of the work makes it possible to clearly distinguish the forms of artistic time, which are represented as unreal time, future time, real time of the main character, accelerated time or «breakage of time counting» and slow-motion or stopped time, existing in the minds of his characters within the framework of the writer’s story. It is noted that M. Kunafin tries to give deep figurative content to oppositions and comparisons. The compositional technique helped the author to collect all forms of plot time around the hero’s dream. The semantic essence of the synthesis of unreal and real time acts as one of the main elements of the plot of the story. Real time does not always coincide with artistic time. The conclusions are drawn that the integral space of the work is represented by rural everyday life and characters who are immersed in traditional household ties, connecting the past, present and future. The concept of artistic time in M. Kunafin’s story implies its important function as a means of imaginative cognition of reality. It provides an opportunity to observe the process of worldview transformation and the acquisition of moral qualities of the characters. The results of the study contribute to the further study of the artistic features of the writer’s work.

IS TIME AN ILLUSION?

The article is included in the discussion that has unfolded in the scientific community about the reality or non-reality of time. The grounds and reasons for posing the problem of the unreality of time are revealed. The multifaceted nature of the problem is shown - the interweaving of physical, social, philosophical components. The idea of the inevitability of the formation of a non-traditional interpretation of time in the light of new scientific and philosophical ideas is supported. The idea of the illusion of time is usually related to the interpretation of time in quantum physics. Naturally, the question arises: is time universal or local, and what is the status of physical time in philosophical teachings about time. It is shown that a number of arguments are put forward in favor of the idea of the unreality of time, the fact of belief in the reality of time, the lowering of the status of the concept of time in theoretical physics, the development of the relational paradigm in physics, doubts about the fundamental position about the relationship between time and change. The idea of polytemporality and contextuality of time in society is proposed. It is shown that within the framework of the dynamic concept of time there is no possibility of local unreal time.

Fantasy interpretation model for historiography Fantasy novel plus AH subgenre

Taking into account the different goals of the AH and Fantasy novel plus AH subgenre writing, we can try and develop one definition of both. AH writing reconstructs the national or world history and the changed facts, conclusions draw our attention to specific facts, key moments of well-known stories that are invisible for us, since of everyday life’s obvious reality prevents us from analyzing processes, we turn on the automatic mode instead. While Fantasy novel plus AH subgenre writing is rather monumental work, because it turns to the world history or historiography model making. Fantasy novel plus AH subgenre works use the historyographical method, but they exist in unreal time dealing with well-known constructions of the action world history of civilization. For example, one of the first uchronic stories by George Richard Raymond Martin “The Hedge Knight” (Martin) uses the space of Middle Ages in Europe for fiction story modeling. Also, it is an abstract of the world of the latest “Game of Thrones” – the greatest fiction saga of the new age literature in the 2000s. There is no doubt that “A Song of Ice and Fire” is constructed based on the matrix of such myth as “The Elder Edda” and “The Lord of the Rings” by John R. R. Tolkien. Legendary fantasy writer J. R. R. Tolkien spent much of his life studying, translating, and teaching ancient tales of northern Europe at Oxford and drew on them for his own writing. These epic stories, with their wizards and knights, dragons and trolls, cursed rings and magic swords, are as fascinating today as they were thousands of years ago. Reading them brings us as close as we will ever get to the magical worlds of the Vikings and the origins of their twentieth-century counterpart: Tolkien’s Middle Earth gave G. R. R. Martin, according to his own confession, the idea of the fantasy world of Westeros. The article deals with the specifics of the Fantasy novel plus AH subgenre in comparison to the Alternate history itself. The aim of the study is to emphasize the main features of the Fantasy novel plus AH subgenre and its common and different characteristics. The study uses such a method as comparative, descriptive, analysis and statistics counting. The novelty of the current research is realized by the essence of the first-time study of the AH subgenres on the world literature sources. The sources of the study are novels written by G. R. R. Martin “A Song of Ice and Flame”, “Kaiser and the War” by Simon J. Ortiz and V. Neff “Queens Don’t Have Legs”. Conclusions. As well as “A Song of Ice and Flame” by G. R. R. Martin, V. Neff’s trilogy exhibits a gallery of kings, queens, dukes, wizards, captains, people. Some of them are real, some are prototypes of actual statesmen; some characters come from Greek myths, while some – from the author’s fantasy. Although the objective of the alternative history method in the both works is quite different, it plays a similar role in the plot construction. Alternative history builds the walls of fantasy world from the bricks of actual historical elements, making the novel interesting for readers and involving them as betrayers.

Петербургский текст в «Воспоминаниях» М.В. Добужинского

Mstislav Dobuzhinsky (1875-1957) was one of the members of the artistic movement Mir Iskusstva, a cityscape painter, book illustrator, scene designer, and also wrote memoirs. He had been writing his Vospominaniya [Recollections] for over 30 years, from the mid-1920s to his death in 1957. Emigration, home-sickness, author’s intention to relive the foretime stipulate the specificity of the text’s chronotope, which is mainly related to Petersburg. Dobuzhinsky idealized the image of Petersburg in Vospominaniya. I determine the specificity of Petersburg’s chronotope and describe the interconnections between the delineation of Petersburg and its verbal image in the text. The theme of depicting Petersburg highlights Dobuzhinsky’s artworks. Dobuzhinsky perceived Petersburg as a piece of art and focused on his own visual interpretation of the city. His attitude to Petersburg metamorphosed with the autobiographic main character’s acquisition of new art techniques and artistic devices from works of Alexandre Benois and E. T. A. Hoffmann. Petersburg’s chronotope is multifaceted in the text: it is a real historical cityscape, a happy childhood time, an object of visual art of the autobiographic main character, and also a space of author mystification. The main character perceives Petersburg and the Petersburg text through the prism of works of Alexander Pushkin and Fyodor Dostoevsky. The city becomes the author’s ideal. It is the space that combines the features of the beautiful and the ugly, which determined the antinomy of the Petersburg text. Petersburg is fantastic, it has an infernal theme, an evil principle inherent in the city: in inclement weather, the main character had nightmares in the streets and petty demons coming out of the cracks. The narrator recognizes the city as an inspired creature hostile to man, the main character himself is confronted with a peculiar manifestation of Petersburg’s metaphysical fear. In the narration, Petersburg reflected the various features inherent in the image of the city in Dobuzhinsky’s artworks with their aestheticism, tragedy, lyricism, irony, philosophy, and sentimentality. Petersburg in Vospominaniya concentrates different real and unreal meanings. The autobiographic main character teeters on the brink of his historical real-life time and space and unreal time and space created by literature texts and pieces of visual art that compensate the need for comprehending the city’s soul. Petersburg in the text is a complex ambivalent space, saturated with cultural codes, reflected by the cognizing consciousness that acts systematically and transforms the main character’s inner world. The theme of depicting Petersburg allows the author-narrator to reveal the general approach to his pictorial art, rethink some aspects of artistic activity, and verbalize the visual representation of the city. The author declares no conflicts of interests.

Digital Time: Latency, Real-time, and the Onlife Experience of Everyday Time

Digital technologies create and shape our environments, the infosphere, where we spend increasingly more time. Through exploration of such concepts as latency, real and unreal time, this article discusses how time has changed due to the digital revolution over the past half-century.

«Как я почту в войну носил...» (всегда ли условны сказочные пространство и время?)

Folklore studies generally consider time and space in everyday tales, unlike fairy tales, as non-fantastic but close to reality. At the same time, they are unreal, just as the main character. A comparative analysis of two texts was undertaken: handwritten notes of Stepan Nikiforovich Zhirnovsky (1951) and a tape recording of Pavel Platonovich Plotnikov (2000), both having plots of the same type and registered in the Irtysh region. The story of 1951 is of a stand- ard type, with a typical everyday tale main character: an agile person, a rogue, taking advantage of any situation. His action takes place in a unreal time and space, despite the narrative being in the first person as a “true story.” When telling the story of 2000, the storyteller calls it a “tale”, but the listener is immersed in real space and time (real Sibe- rian villages during the Great Patriotic War). The credibility is confirmed by introducing the names of the people who lived at that time. The hero of the first-person narrative is not a pattern but a real man involved in complicated, absurd, and cruel life situations (although these are typical tale plot episodes). The listener realizes the hero’s terrible deeds as committed not out of malice but by accident, feels sympathy, and believes in his experiences as if it was a story of a real person from the not-so-distant wartime years. All the credit goes to the narrator, who masterfully adapts the traditional tale story to real-life circumstances.

NETWORK CALCULUS. PART 2. PRACTICAL USE

The frst part of the article provided an overview of the basic principles of the promising direction of modeling and analysing infocommunication networks and systems - Network Calculus theory. The second part of the article considers examples of practical application of Network Calculus theory to the analysis of infocommunication networks and systems. A qualitative comparison was given of trafc delays estimates in the queuing system obtained using the methods of queuing theory, network calculus theory and simulation, with delays in a real system. The results of using network calculus to assess the boundary characteristics of the service trafc quality in the most promising infocommunication networks are presented. The features of the use of deterministic network calculus for estimating end-to-end delays in sensor networks and the upper queues boundaries in the bufers of the controller and switches of software-defined networking are described. Application of the theory of stochastic network calculus to obtain boundary estimates of end-to-end delays in LTE mobile networks for trafc fows of real and unreal time is shown.

가정접속사 ‘要是’ 형성의 조건 분석

The present study analyzed the process of arriving to the use of ‘要是’ as a subjunctive mood conjunction. The use of ‘要是’ was divided into two aspects, ‘要’ and ‘是’, during the analysis. Firstly, the study examined the semantical characteristics of ‘要’ that enabled the expansion of function from an auxiliary verb to a conjunctive particle. The fundamental semantic function of ‘要’ could be summarized using the irrealis mood concept. The auxiliary verb ‘要’ indicates a future tense that is in an unreal time and unreal domain. The conjunctive particle, ‘要’ further evolves the potentiality of irrealis, expanding its meaning to the subjunctive mood. Next, the study examined the reasons for including ‘是’ in the subjunctive mood conjunction ‘要是’. This study analyzed the fixture of ‘要’ and ‘是’ being used together from the framework of lexicalization. The reason why ‘要是’ was able to be lexicalized was because ‘是’ first became grammaticalized. Diachronically, ‘是’ was developed in the order of a demonstrative-copula-focus marker. The ‘是’ in ‘要是’ is a further grammaticalization, in that it functions as a component in a word. More specifically, the conceptual basis that enabled ‘是’ to be included in a subjunctive expression is because ‘是’ has a temporal persistence that connects the past, the present, and the future. Furthermore, although ‘是’ accompanies a noun component as an object, functioning as a copula verb, this changed as the scope of the subsequent component expanded into the verb component. Subsequently, ‘是’ lost its lexical meaning and phonetic stress and became dependent on ‘要’ to create a subjunctive mood conjunction.

Concepção e desmoronamento da imagem paterna no livro Quando meu pai se encontrou com o ET fazia um dia quente, de Lourenço Mutarelli

Lourenço Mutarelli é um autor que transita entre os gêneros e mesmo entre a linguagem verbal e pictórica. Em seu livro Quando meu pai se encontrou com o ET fazia um dia quente (2011), Mutarelli escapa dos quadrinhos que o consagraram e apresenta um livro “memória” cheio de “falsas” fotografias que conta sobre um tempo passado e irreal. Nesse falseamento da lembrança, encontramos uma insistente reprodução da figura paterna. O pai é repetido e distorcido nas imagens do livro, imagens desencontradas, borradas e inconsistentes como uma falsa recordação de um encontro alienígena. A repetição da figura paterna proclama um desejo de rememoração e fixação de sua materialidade, ou seja, o artista busca conservar e isolar esta imagem do lugar e do tempo de sua “real” aparição (BERGER, 1982). Neste procedimento, o trabalho de Mutarelli dialoga com a especificidade da imagem enquanto memória e receptáculo do anseio por permanência e negação da morte. Partindo destes pressupostos, pretende-se verificar como se dá a construção deste personagem no desenvolvimento da obra e como ela evoca o processo essencial da temporalidade da imagem, que só possui realidade na medida em que remete para conhecimentos e valores previamente adquiridos, ou seja, rememorados (FRANCASTEL, 1998).

Three Paradigm Theories of Time: Bergson, McTaggart, and Whitehead

Abstract The three theories considered here, real continuous time (Bergson), real serial time (Whitehead), and unreal time (McTaggart), are each in some sense a reaction to Hume’s theory of serial or “spatialized” time. Hence, Hume’s theory is elaborated on as a foundation for the discussion and comparison of the subsequent three. This brief excursion into the nature of time may help to illuminate the differences among these three and to suggest some of their possible implications, particularly with regard to (1) the existential difference between intuited or transcendent time and experienced or immanent time and (2) the qualitative or ontological difference between the eternal and the temporal.

Three Paradigm Theories of Time

The three theories considered here, real continuous time (Bergson), real serial time (Whitehead), and unreal time (McTaggart), are each in some sense a reaction to Hume’s theory of serial or “spatialized” time. Hence, Hume’s theory is elaborated on as a foundation for the discussion and comparison of the subsequent three. This brief excursion into the nature of time may help to illuminate the differences among these three and to suggest some of their possible implications, particularly with regard to (1) the existential difference between intuited or transcendent time and experienced or immanent time and (2) the qualitative or ontological difference between the eternal and the temporal.

Valeurs temporelles et modales de l’imparfait avec application à des textes choisis.

Temporal and moral values of the imperfect, with application to selected texts. We have studied the imperfect in its two most important values. 1- Time value of the imperfect (real time). 2- Modal value of imperfect (unreal time) within this general scheme, we have made a subdivision. In the first part of our work, we studied: - Chapter I - situation of the imperfect in the French verbal system. Chapter II- Semantic Values of the Imperfect. - Chapter III- The use of the imperfect in the literature "application on a choice of texts" - In the second part, we studied: - Chapter I- The particular uses of the imperfect. Chapter II- Hypothetical and metaphorical truth. - Chapter III - The different jobs of "if”

Follow-up visit in an ICU: receiving a sense of coherence.

To describe patients' experiences of a follow-up visit to an intensive care unit (ICU) after being critically ill and nursed there. Knowledge about the follow-up visit needs to be developed, with the previously critically ill patient in focus. Qualitative descriptive. Semi-structured interviews were conducted with nine patients and analysed using qualitative content analysis. The data collection occurred during spring 2014. During the follow-up visits in ICU, the relatives, the patient diary, and those who took part in the care contribute to fill memory gaps to create a picture and an explanation of the care period. The follow-up visit is an important tool in the patients' struggle to create a context and coherence from a missing or unreal time. The patient diary is essential to subsequently be able to relate to the period of care. The follow-up visit, together with a personal diary, after an ICU stay could be seen as significant for strengthening the patients' feeling of coherence and better health.

Re-embodying Online Composition: Ecologies of Writing in Unreal Time and Space

► Online composition technology often presents writing as a disembodied and isolated activity. ► Composition theory posits that writing is complexly social, even ecological, and should be taught thus. ► Composition's best practices have long included productive intellectual collaboration. ► We present an assignment sequence for an online class that fosters ecological collaboration. Using the ecological theories of writing proposed by Marilyn Cooper's “The Ecology of Writing” (1986) and Margaret Syverson's The Wealth of Reality: An Ecology of Composition (1999), this article describes a multi-step assignment sequence designed to engage online first year composition students across the ecological breadth of their writing and learning environments. The goal of the project is twofold: enriching students’ writing processes with a sophisticated understanding of the social situatedness of knowledge and rhetoric, we can simultaneously create high-functioning learning communities in an otherwise disembodied online learning space, not by upgrading our technological tools but by pedagogically guiding learners toward ecological and productively collaborative interactions with one another.

Real Time and Unreal Time: Expression in Distributed Performance

“Real time” indicates that the actions of a computer system take place at the same time as events in the environment to which the system is responding. The expressivity of an interactive multimedia system is directly related to its real-time operation: the aesthetic qualities of ensemble performance or a call-and-response interplay between human and machine forces are changed dramatically when there is a significant delay to the computer's output. At the same time that some artistic opportunities are closed off, however, new ones emerge. In particular, this article will explore the spaces made available through unreal time – those latencies between the immediacy of ensemble interaction and delays so long as to be outside of any kind of “real-time” performance – the range between about 20 and 2,000 milliseconds. A discussion of these latencies, as encountered in a composition staged in distributed performance over Internet2, closes the article.

La temporalité de l'âme sensible dans le Voyage de Saint-Pétersbourg à Moscou

The Time as a Creation of the Sensibility in A. N. Radiščev’s Journey This paper tries to show that Radiščev in his Journey does not organize the time of his narration in an objective and rational manner. In this highly sentimental book the time appears to be a creation of the traveller's feeling. The author has an obvious predilection for the temporal categories which lie outside the present, so that his hero can escape to the hard reality he watches. In spite of an apparent similarity, Radiščev's look at the future differs from an utopian vision. For him the future is mainly a shelter from surrounding world ills, which offers the hero an opportunity to lyrical effusions. So is the poetic function of the past, used by the traveller as a theme of elegiac meditation. The cyclic conception of the universe, evocated in several chapters of the Journey, unifies both of the forms of the unreal time (past and future) in an endless oscillation of the cosmic pendulum.

Joseph in Lawyerland

As Alice wanders through Wonderland in an unreal space in real time-a dream-learning backward truths from illogical creatures who speak in paradoxes, so Joseph figuratively wanders through lawyerland in an unreal time, but in a very real space-Manhattan-conversing with his thinly fictionalized friends, all of whom happen to be lawyers, about their lives and practices in law. As Joseph's lawyers talk with him about the law they practice, they uncover, through White Rabbit and Cheshire Cat-like illogical precision, a chaotic, unkempt, unconscionably reckless, often cruel, and sometimes pathological legal wilderness. The legal terrain these lawyers occupy is not an inviting one: Lawyerland, according to Joseph and his friends, is an inhumane place. Even more striking, though, than the cruelty of their world, is what Joseph's lawyers in Lawyer-land tell Joseph about the nature of lawyers' knowledge. What lawyers know of law, and of people, Joseph's lawyers tell him, and he tells us, are the limits of our knowledge, both ours and theirs, regarding both law and the human condition. In this regard, Joseph's lawyers are virtually ironic templates (or as one of his conversationalists would put it, ironic phenotypes): Like all ironists, what Joseph's lawyers know, they know from and of experience; and what they know, is that lawyers know the boundaries of what we know. They know, for example, that nonlawyers don't know the nature of the legal beast; they know that lawyers keep secrets; they know lawyers secrete; and they know that lawyers defraud others. They know that lawyers lie, even if only by necessity and if only by virtue of knowing too much; they know that lawyers invented spin, and, when they have to, change the story; they know that lawyers use knowledge to game the system; and they know that there is much that lawyers don't know precisely because lawyers don't want to know it.

Irrealis in Sranan

Since Bickerton's (1974, 1981) arguments in favor of a prototypical creole TMA system, it has become almost the norm among most creolists to refer to the category which expresses futurity in Caribbean English Creole and other creoles as irrealis. This label is clearly inappropriate, since it suggests that the meaninig of futurity is subsumed along with other semantic notions under a unitary category of irrealis mood. According to Bickerton (1975, p.42) irrealis mood refers to unreal time - that is, futures and conditionals, subjunctives, and so on. With few exceptions, creolists have tended to accept Bickerton's claim that these are manifestations of the same category. The fact is that all creoles distinguish future tense categories from others which express different types of irrealis meaning associated with mood and modality. The present paper employs frameworks from Bybee, Perkins, and Pagliuca (1994), Palmer (1986), and others to present an informal, pre-theoretical account to the semantics of modality in Sranan. I describe the modal categories of Sranan, and the way various auxiliaries are used to convey both deontic and epistemic meanings. I also discuss the way modal meanings are conveyed in conditionals and other subordinate clauses, particularly those traditionally associated with subjunctive mood. The analysis offered here provides a basis for comparison with other creoles, to determine the degree of similarity and difference among their systems of modality

Perspectivas ganivetianas sobre Granada: variaciones sobre un cronotopo

Ganivet concentrates in Granada la bella his ideas on mankind, the city, the nation, that he will develop more completely in Idearium espanol. A suis generis cronotopic image emerges from the text: an image of a geographical place well defined historically (today's Granada) in wich an ideal and unreal time (eternity) is created. This paper gathers some thougts on the semantic complexity of the ganivetian cronotopos (the ideal Granada). The structure of this cronotopos is analogous to that of other classical representations of the repertory of ideas of '98 Generation (the eternal Spain).