Academic literature on the topic 'Children's 9-12 - Fiction - Science Fiction'

Climate change poses a grave threat to future generations, yet relatively little research examines children’s understandings of the issue. This study examines the questions children ask about climate change – rather than their answers to adults’ questions – exploring whether their questions suggest they view climate change as psychologically proximal or distant. Children aged 10–12 from 14 UK schools took part in an online event, asking scientists questions in a ‘climate zone’. The questions were analysed using thematic analysis. The themes related to the nature and reality of climate change, its causes, impacts, and solutions. Participants seemed most exercised about the future impacts of and ways of ameliorating climate change, with some questions evoking science-fiction disaster imagery. The contents of participants’ questions elucidated the ways in which they position climate change as both a proximal and distant phenomenon.

Children begin to fully understand evaporation at the age of 11 years, but they already have some idea of this phenomenon in preschool age. The paper presents the results of a research exploring the understanding of evaporation by 6- and 9-year-old children. The research used the method of a narrative based on incorrect information in order to verify whether and how well children would discover the errors in that narrative and how they could explain the process of evaporation. The incorrect narrative method is inspired by the science fiction film genre, which uses false assumptions to prove something that is not true. According to the research, half of the children knew that evaporation accompanies the process of cloud formation, but only half of the children who knew that (one-fourth of the respondents) could detect an error in the narrative. The reason for that is believed to be children’s lack of critical thinking and limited structured knowledge of evaporation in the water cycle in nature.

Background Physical activity is crucial for child obesity prevention and intervention. Narratives embedded in active games can increase children’s physical activity. Objective Little is known about the narrative characteristics that would motivate children to exercise. We attempted to fill the gaps in understanding regarding narrative design for active video games. Methods In this exploratory study, four animated narratives of different genres were professionally generated. Children (N=41) between the ages of 8 and 12 years were interviewed to identify their preferences. Sessions were digitally recorded, transcribed, and analyzed using exploratory thematic analysis. Results Findings revealed that the children rated the dystopian science fiction story as their favorite across all weight, race, and gender groups. The physical activity-friendly narrative strategies included virtuous characters, extraordinary character actions, interesting plots, super powers, and engaging cliffhangers. Alternatively, information not related to physical activity, difficult-to-follow plot lines, passive protagonists, and repetitive narrative tropes were less appealing for physical activity. Conclusions This research provides preliminary evidence that narratives have characteristics that may increase child physical activity when playing active games. Future empirical studies should verify and test these design principles.

Research on media representation on Islam and Muslims have been carried out widely in the post 9/11 tragedy from a cultural, religion, political and social group lens. However, this paper discusses a science fiction film, Interstellar (2014), directed by Christopher Nolan. It is a film about space exploration by a group of scientists in their quest to find a new planet for humankind to replace the earth. The film portrays scenes of the scientists travelling into places in space - the wormhole and other potential planets for a living. Apart from highlighting space and its discovery journey from the perspective of modern science, this film can also be explored from the perspective of Islam. Many scenes in the movie represent and translate what Allah SWT has thought of Muslims through verses in the al-Quran. What are the scenes, and how does it relate to verses in the Quran? This paper uses qualitative content analysis to highlight selected verses of Kauniyah (verses explaining about Allah’s creation of the universe and its system) in the al-Quran as evidence that reflects the truth of al-Quran and the Islamic teachings. The findings are highlighted based on the relationship of scenes containing this evidence in the film with the verses in the Quran and their meanings. Keywords: Sci-fi film, science fiction, interstellar, Kauniyah verses, Islamic science.

This study focuses on the clash between two civilizations, i.e., Islam and the West in works of fiction that were produced after the September 11 attacks and that deal with the attacks. The novel selected for this study is Falling Man (2007) by Don DeLillo. Through critical engagement by Samuel P.Huntington's "The Clash of Civilizations", this study tries to discover how the clash has been presented in the novel. The conflict portrayed in the novel has been analyzed qualitatively through Miles et al. 'Noting Patterns and Themes' and by using archival methods. Islamist terrorism, Religion Islam, Financial opportunities, and Western Imperialism are depicted as the bone of contention between the two civilizations. The writer tries to resist the notion that Western civilization is imperialistic and portrays Islam as a religion advocating terrorism.

Introduction. The forms of work with readers’ creativity in pre-revolutionary children’s publications were not very diverse – the children’s literary and art magazine “Galchonok” (1911–1913) became an exception in this regard, providing readers with the opportunity to participate in the magazine’s creative projects. The purpose of the study is to analyze the editorial strategy of the Galchonok journal in terms of working with children's creativity. Innovative forms and principles of organizing and activating the creative activity of readers are examined, and the features of the communicative behavior of the editorial staff are simultaneously identified. Materials and methods. The contents of the “Mailbox” section have been analyzed. Conclusions about the creative attitudes of the editors are made on the basis of essays about art published in the magazine, articles and notes with practical creative advice. The forms of publication of readers’ works, creative competitions and joint projects, as well as editorial comments to them, are considered in detail. Result and Discussion. Public feedback on the works sent by readers and the playful communicative behavior of the editors contributed to the formation on the pages of “Galchonok” of a cross-cutting narrative dedicated to the creative activity of readers. It was extrapolated to other materials of the magazine, ensuring the interaction of fictional plots with appeals to the real activity of readers. At the same time, the organization of this activity was based not only on competitions for the best works, but also on projects in which the works of readers were given formality and conceptualization of a collective work. Conclusion. The participation of readers in the creation of magazine materials led to the formation of a specific creative environment based on the principles of communication and play. The findings can add to the consideration of the continuity between the pre-revolutionary and Soviet stages of the development of children’s journalism in terms of interaction with the creativity of readers.

The article is devoted to the linguistic and statistical study of the dictionary and text of I. Franko’s novel “Petriji j Dovbuschuky”, second eddition (1909–1912). In the process of complex system corpus lexicographic and linguisticstatistical description of the long prose fiction by I. Franko, twelve most important statistical parameters were identified. They were applied to characterize the novel “Petriji…” consistently: 1) the size of the text, 2) the size of the dictionary of tokens; 3) richness of vocabulary, 4) average word repeatability in the text, 5) number of Hapax legomena (words with frequency 1), 6) index of text exclusivity, 7) index of dictionary exclusivity, 8) number of high-frequency vocabulary in the text, 9) number of high-frequency vocabulary in the dictionary, 10) index of concentration in the text, 11) index of concentration in the dictionary, 12) morphological statistical characteristics: the number of every part of speech in the dictionary and text, 13) index of epithetization, 14) index of verb modifiers, 15) index of nominalization, 16) the ratio of direct and author’s speech (index of dialogicity). In comparison with other works of long prose fiction by I. Franko, the most explanatory parameters were the morphological characteristics of the index of epithetization and index of verb modifiers, as well as textual characteristic such as the index of dialogicity. The applied classical and original interdisciplinary approaches, as well as the electronic text corpus of “Petriji…” can serve as an empirical basis for further linguistic, literary, cultural, historical studies on this text.

Motivated by the request to build shape-conformable flexible, wearable and customizable batteries while maximizing the energy storage and electrochemical performances, additive manufacturing (AM) appears as a revolutionary discipline. Battery components such as electrodes, separator, electrolyte, current collectors and casing can be tailored with any shape, allowing the direct incorporation of batteries and all electronics within the final three-dimensional object. AM also paves the way toward the implementation of complex 3D electrode architectures that could enhance significantly the power battery performances. Transitioning from conventional 2D to complex 3D lithium-ion battery (LIB) architectures will increase the electrochemically active surface area, enhance the Li+ diffusion paths, thus leading to improved specific capacity and power performance [1]. Our recent modeling studies [2] involving the simulation of a classical Ragone plot illustrated that a gyroid 3D battery architecture has +158% performance at a high current density of 6C, in comparison to planar geometry. In this presentation, an overview of current trends in energy storage 3D printing will be discussed [3-11]. A summary of our recent works on lithium-ion battery 3D printing via Thermoplastic Material Extrusion / Fused Deposition Modeling will be presented [12-16]. The development of printable composite filaments (Graphite-, LiFePO4-, Li2TP-, PEO/LiTFSI-, SiO2-, Ag/Cu-based) corresponding to each part of a LIB (electrodes, electrolyte, separator, current collectors), and the importance of introducing a plasticizer (polyethylene glycol dimethyl ether average Mn 500 for polylactic acid) as an additive to enhance the printability will be addressed. Printing of the complete LIB in a single step using multi-material printing options, and the implementation of a solvent-free protocol [14] will also be discussed. Second part of this presentation will be dedicated to AM of batteries by means of Vat Photopolymerization (VPP) processes, including stereolithography, digital light processing and two-photon polymerization (offering a greater resolution down to 0.1μm), to print high resolution battery components [10]. Composite resins formulation approaches based on the introduction of solid battery particles or precursor salts will be introduced [17, 18]. Finally, an overview of our ongoing project dedicated to AM of sodium-ion batteries from resources available on the Moon and Mars will be presented. Due to its relative abundance in the Lunar regolith, the development of a composite photocurable resin loaded with TiO2 negative electrode material and conductive additives, to feed a VPP printer, will be discussed [18]. [1] Long et al., Three-dimensional battery architectures, Chemical Reviews 104(10) (2004) 4463-4492. [2] Maurel et al., Considering lithium-ion battery 3D-printing via thermoplastic material extrusion and polymer powder bed fusion, Additive Manufacturing (2020) 101651. [3] Maurel et al., Overview on Lithium-Ion Battery 3D-Printing By Means of Material Extrusion, ECS Transactions 98(13) (2020) 3-21. [4] Ragones et al., Towards smart free form-factor 3D printable batteries, Sustainable Energy & Fuels 2(7) (2018) 1542-1549. [5] Reyes et al., Three-Dimensional Printing of a Complete Lithium Ion Battery with Fused Filament Fabrication, ACS Applied Energy Materials 1(10) (2018) 5268-5279. [6] Yee et al., Hydrogel-Based Additive Manufacturing of Lithium Cobalt Oxide, Advanced Materials Technologies 6(2) (2021). [7] Saccone et al., Understanding and mitigating mechanical degradation in lithium–sulfur batteries: additive manufacturing of Li2S composites and nanomechanical particle compressions, Journal of Materials Research (2021). [8] Tagliaferri et al., Direct ink writing of energy materials, Materials Advances 2(2) (2021) 25. [9] Sun et al., 3D Printing of Interdigitated Li-Ion Microbattery Architectures, Advanced Materials 25(33) (2013) 4539-4543. [10] Maurel et al., Toward High Resolution 3D Printing of Shape-Conformable Batteries via Vat Photopolymerization: Review and Perspective, IEEE Access 9 (2021) 140654-140666. [11] Seol et al., All-Printed In-Plane Supercapacitors by Sequential Additive Manufacturing Process, Acs Applied Energy Materials 3(5) (2020) 4965-4973. [12] Maurel et al., Highly Loaded Graphite-Polylactic Acid Composite-Based Filaments for Lithium-Ion Battery Three-Dimensional Printing, Chemistry of Materials 30(21) (2018) 7484-7493. [13] Maurel et al., Three-Dimensional Printing of a LiFePO4/Graphite Battery Cell via Fused Deposition Modeling, Scientific Reports 9(1) (2019) 18031. [14] Maurel et al., Environmentally Friendly Lithium-Terephthalate/Polylactic Acid Composite Filament Formulation for Lithium-Ion Battery 3D-Printing via Fused Deposition Modeling, ECS Journal of Solid State Science and Technology 10(3) (2021) 037004. [15] Maurel et al., Poly(Ethylene Oxide)-LiTFSI Solid Polymer Electrolyte Filaments for Fused Deposition Modeling Three-Dimensional Printing, Journal of the Electrochemical Society 167(7) (2020). [16] Maurel et al., Ag-Coated Cu/Polylactic Acid Composite Filament for Lithium and Sodium-Ion Battery Current Collector Three-Dimensional Printing via Thermoplastic Material Extrusion, Frontiers in Energy Research 9(70) (2021). [17] Martinez et al., Additive Manufacturing of LiNi1/3Mn1/3Co1/3O2 battery electrode material via vat photopolymerization precursor approach, (submitted). [18] Maurel et al., Vat Photopolymerization Additive Manufacturing of Sodium-Ion Battery TiO2 Negative Electrodes from Lunar In-Situ Resources, (submitted).

Este artigo recupera os argumentos centrais de alguns protagonistas da inclusão dos laboratórios de escrita nas universidades brasileiras, analisando suas bases teóricas e os ecos encontrados no percurso histórico de países em que a escrita criativa como área de conhecimento já se encontra consolidada. Demonstra como é possível rastrear a defesa pela inclusão da criação literária nas universidades brasileiras até o final do século XIX. Objetiva, também, contribuir para a organização do debate histórico sobre os cursos de escrita criativa no Brasil. Palavras-chave: Criação literária. Escrita criativa. Oficina literária. Ensino de literatura. História da literatura. REFERÊNCIAS ABED, Carolina Z. Presença da Escrita Criativa no Brasil. Revera – Escritos de Criação Literária, v. 6, 2021 [no prelo]. AMABILE, Luís Roberto. O fantasma, o elefante e o sótão: apontamentos sobre a escrita criativa na academia. Cenários, v. 1, n. 9, p. 53-61, 2014. AMABILE, Luís Roberto. Do que estamos falando quando falamos de escrita criativa. Criação & Crítica, n. 28, p. 132-149, dez 2020. AMABILE, Luis Roberto. Escrita criativa: a aventura começa. In: AMABILE, Luís Roberto; LINARDI, Fred & RICHINITTI, Gabriela (orgs.). Como tudo começou: a história e 35 histórias dos 35 anos da Oficina de Criação Literária da PUCRS. Porto Alegre: EDIPUCRS, 2020b. ALENCAR, José de. Sonhos d’ouro. Rio de Janeiro : B. L. Garnier, 1872. ANDRADE, Mário. Cartas a um jovem escritor: de Mário de Andrade a Fernando Sabino. Rio de Janeito: Record, 1982. ASSIS, Machado de. Obra completa de Machado de Assis. Rio de Janeiro: Nova Aguilar, v. III, 1994. BARBOSA, Amilcar B. Da leitura à escrita: a construção de um texto, a formação de um escritor. 2012. Tese (Doutorado em Letras) – Programa de Pós-Graduação em Letras, Pontifícia Universidade Católica do Rio Grande do Sul/Université Sorbonne Nouvelle, Porto Alegre/Paris, 2012. BRASIL, Luiz Antonio de Assis. A escrita criativa e a universidade. Letras de Hoje, Porto Alegre, v. 50, n. esp. (supl.) , p. s105-s109, dez. 2015a. BRASIL, Luiz Antonio de Assis. Escrita criativa – e reflexiva, ma non troopo. Scriptorium, v. 1, n. 1 jul-dez/2015b, p. 1-5. BRASIL, Luiz Antonio de Assis et. al. Percepções e perspectivas discentes nos cursos de pós-graduação em Escrita Criativa da PUCRS. Navegações, Porto Alegre, v. 10, n. 2, p. 149-155, 2017. COUTINHO, Eduardo. A contribuição de Afrânio Coutinho para os estudos literários no Brasil. In: FIGUEIREDO, Carmen Lúcia Negreiros de, et. al. (orgs.) Crítica e Literatura. Rio de Janeiro: De Letras, 2011, p. 185-196. DAWSON, Paul. Creative writing and the new humanities. Abingdon: Routledge, 2004. DONNELLY, Diane J. Establishing creative writing as an academic discipline. Bristol: Multilingual Matters, 2012. DOURADO, Autran. Uma poética de romance: matéria de carpintaria. Rio de Janeiro: Difel, 1976. EUROPEAN ASSOCIATION OF CREATIVE WRITING PROGRAMMES. Institutional members. 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Penelitian ini bertujuan untuk mengetahui serta memahami urgensi pengaturan AI dalam UU Hak Cipta di Indonesia serta potensi AI sebagai subjek hukum dalam sistem hukum di Indonesia, Penelitian ini menggunakan metode penelitian normative serta menggunakan pendekatan perundang-undangan atau statue approach serta pendekatan perbandingan atau comparative approach. Adapun rumusan masalah dalam penelitian ini adalah Apa urgensi pengaturan artificial intelligence dalam rezim hukum hak cipta di Indonesia? Dan Bagaimanakah potensi artificial intelligence sebagai subjek hukum dalam sistem hukum di Indonesia ? Dalam penelitian ini menemukan bahwa dalam UUHC Indonesia tidak mengenal AI sebagai subjek hukum, sehingga AI berdasarkan pada UUHC Indonesia tidak dapat digolongkan sebagai pencipta serta potensi AI untuk diakui sebagai entitas baru berkaitan dengan subjek hukum selain manusia dan badan hukum yang sebelumnya telah diakui sebagai subjek hukum di Indonesia sangat terbuka, mengingat AI dapat dipersamakan dengan badan hukum sesuai dengan teori-teori badan hukum serta adanya konsep Work Made For Hire yang terdapat dalam UUHC Amerika Serikat yang dapat diadopsi oleh Indonesia untuk mengakomodir AI sebagai suatu entitas baru berkaitan dengan subjek hukum yang diakui di Indonesia. Kata Kunci: Kecerdasan Buatan, Hak Cipta, Subjek Hukum This study aims to determine and understand the urgency of AI regulation in the Copyright Law in Indonesia as well as the potential of AI as a legal subject in the legal system in Indonesia, This study uses normative research methods and uses a statutory approach or statue approach and a comparative approach. This study found that the Indonesian Copyrights Law does not recognize AI as a legal subject, so AI based on the Indonesian Copyrights Law cannot be classified as a creator and the potential for AI to be recognized as a new entity related to legal subjects other than humans and legal entities that have previously been recognized as legal subjects in Indonesia is so open, considering that AI can be equated with legal entities in accordance with theories of legal entities and the concept of Work Made For Hire contained in the United States Copyrights Law which can be adopted by Indonesia to accommodate AI as a new entity related to legal subjects recognized in Indonesia. Keywords: Artificial Intelligence, Copyright, Legal Subject REFERENCES ABC. “Ada Sejumlah Kekhawatiran di Balik Tren Avatar Buatan Lensa.” TEMPO.CO. Last modified December 13, 2022. Accessed November 6, 2023. https://www.tempo.co/abc/8118/ada-sejumlah-kekhawatiran-di-balik-tren-avatar-buatan-lensa. Amboro, F. L. 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This chapter offers an overview of relevant issues within children's literature and science fiction studies before defining primary sf and the debates that it inherits from those larger fields. The perception that primary sf is an impossible genre reflects traditional ideals of children as simple and natural, and therefore the opposite of complex and technological science fiction. This contributes to pervasive belief that science fiction is for ages 12 and up. Adult beliefs create and perpetuate this boundary through outdated developmental theories and genre stereotyping. The end of this chapter offers a straightforward list of criteria for high quality primary sf, based on the literary aesthetics of the science fiction tradition and children's literature scholarship.

This chapter looks at Alfonso Cuarón's Children of Men in terms of one of the Four Horsemen of the Apocalypse — Pestilence. It explains how Children of Men is described between apocalyptic and dystopian, two concepts that are often used interchangeably, but are actually different. It points out that dystopia suggests the perfection of a pernicious order, such as the rise of a dictatorial regime and oppression of minorities, while the apocalypse suggests the End-of-the-World. The chapter discusses the End-of-the-World fiction that exploded in the wake of 9/11 as it revealed breaches in security. It mentions Kirsten M. Thompson, who states that apocalypticism has a close connection to the science-fiction genre.

Chapter Eleven, ""Daddy, I'm scared. Can we go home?": Fear and Allegory in Frank Darabont’s The Mist (2007), Terence McSweeney addresses the potency of the horror genre to function as a cultural barometer by engaging with some of the defining anxieties of the era in a metaphorical fashion. Discussing Frank Darabont's The Mist, an adaptation of the Stephen King novella, McSweeney reads the film's narrative concerning a disparate group of small-towners stranded inside a local supermarket plagued by what might be supernatural beasts outside and, perhaps even more dangerously, religious extremism inside as an articulate treatise on prevailing new millennial fears. The Mist was one of many American genre films which seemed to dramatise Susan Faludi's assertion that, 'The intrusions of September 11 broke the dead bolt on our protective myth, the illusion that we are masters of our own security, that our might makes our homeland impregnable, that our families are safe in the bower of our communities and our women and children are safe in the arms of their men' (2007, 12). The Mist uses familiar genre tropes but localises them to the very specific coordinates of post-9/11 America in a comparable way to how the most resonant horror and science fiction films have done to their own cultures and eras throughout the decades. McSweeney argues that there is a transgressive potency in the horror genre to confront some of the myths which have been at the centre of American popular film since its inception and in particular the 'master narrative' of the 'War on Terror' which emerged after 9/11.

‘After the Rougon-Macquart’ considers the final novel of the Rougon-Macquart cycle, Doctor Pascal. This novel explores the themes of science and religion, renewal and rebirth. The latter theme was of personal significance to Zola, as he had recently fathered two children with his mistress, Jeanne Rozerot. Zola’s later fiction is discussed in the context of the climate of ideas in France in the fin de siècle. The writer’s involvement in the Dreyfus affair brought him glaringly into the public eye, and may indeed have led to his death: he died from carbon monoxide poisoning, suspected to be the result of foul play. His remains were interred in the Panthéon alongside Voltaire, Rousseau, and Victor Hugo.

This chapter examines E. Nesbit’s The Story of the Amulet (1906), C. S. Lewis’s The Silver Chair (1953), Roger Lancelyn Green’s Mystery at Mycenae (1957), Caroline Lawrence’s Roman Mysteries series (2001–9), K. M. Peyton’s Roman Pony trilogy (2007–9), Katherine Marsh’s The Night Tourist (2007) and The Twilight Prisoner (2009), and Tony Abbott’s Underworlds series (2011–12). All these texts involve journeys that can be plotted upon maps geographical and/or chronological, with the consequence that the major cognitive metaphor is HISTORY IS A MAP. Here family is not the site of trauma but rather a zone for the exercise of agency on the part of the young protagonist who must effectively visit an underworld to retrieve or make a family relationship and to come to terms with death. These books suggest that while the past is associated with death, it is also a haven from death.