Academic literature on the topic 'The Idiot'

This thesis F. M. Dostoevsky: The Idiot deals with the life of the author with an emphasis on his work, which is always current, because it concerns itself with increasingly vital topics related to human life. The thesis also deals with issues that are key to understanding Dostoevsky and his perception of the world and discusses the previous staging of the play in the Czech Republic, focusing on the work of the director Miroslav Krobot. Primarily, however, this thesis represents a detailed analysis of Dostoevsky's The Idiot and a detailed analysis of the individual dramatic characters within the play, with a focus on their internal processes and relationships, which are then expressed through costume.

The work is mainly about the social role of costume. The first part discuses the idea of clothing in a social context and it's importance in theatre. The second part deals with the reciprocal relationship of atributes of civil wear and the costumes of different social layers in Russia in the second half of the 19th century. And also it's meaning in contemporary theatre. The third part contains visual suggestions for the main characters of The Idiot by F. M. Dostojevsky.

During thesis brings second-order cybernetics into design research, in the context of the Internet of Things (IoT) and ‘smart’ homes. My main proposition is to question and critically analyse the embedded epistemology in IoT technology in relation to human centred activities. I examine how human lives are represented within the quantified approaches inherent in current notions of ‘smart’ technology, derived from Artificial Intelligence (AI), and characterise this as the Algorithmic Paradigm. I explore questions of how complex, lived, human experience is oversimplified in the IoT. By adopting an epistemology derived from second-order cybernetics — acknowledging the importance of the observer — combined with my ‘IdIoT Proposition’, a way of ‘slowing down’ research on a fast-paced topic, I explore designing reflectively. The IdIoT is a methodological framework characterised by the process of slowing down and asking ‘What are we busy doing?’ in order to become aware of algorithmic oversimplifications. This methodological approach provides self- awareness and self-reflection on ‘the way of knowing the world’ to the researcher and to the participants, in the context of the Algorithmic Paradigm applied in IoT. Through a series of practice-based projects, I use the figure of the ‘SMART’ fridge to examine the implications of the Algorithmic Paradigm in the ‘smart’ home. The consideration that ‘smartness’ is relational is investigated in Becoming Your ‘SMART’ Fridge, in which I position myself as the algorithm behind a ‘smart’ fridge, using quantitative and qualitative data to make sense and ‘nonsense’ outcomes, and exploring householders’ interpretations. In the ‘SMART’ Fridge Session, I developed scripted dialogues characterised by active, reflective users, and assigned roles in which the ‘smartness’ of the algorithms is explored via professional performances and fictitious roles taken on by members of the public. The findings reveal the value of second-order cybernetics, acknowledging an unpredictable observer and embracing ‘smart’ as relational in interaction with IoT technology. They suggest that a shift in perspective is required to create more meaningful interactions with devices in the ‘smart’ home, questioning the current technological path, challenging the dominant epistemology and proposing alternatives. My methodological approach demonstrates how design research and 1 second-order considerations can work together, asking novel questions to inform disciplines with an interest in the IoT, both from a design perspective and in terms of broader implications for society. The work has value for design, HCI, Critical Algorithm Studies, and for technical developers involved in the creation of IoT systems.

The thesis examines the role played by the characters in the structuring of Dostoevskii's novel Idiot. Taking into account the author's lack of a fixed plan for the novel, it assumes a future as yet uncreated and susceptible to being influenced and shaped by the characters. It identifies the concept of ‘scripting', incorporating the strategies used by the protagonists to orchestrate their own lives and those of others, and thus to take control of the text, and the impulses behind these strategies. Both aspects are used to explore two connected issues; self-other interactions, connected primarily to the strategies employed, and the questions of faith and doubt faced by the characters, which are grounded in the same impulses as scripting. The concept of presentness links both areas. By looking in detail at the hero's and heroine's ideas and actions, how they affect each other and the other protagonists, the thesis examines how they steer the direction of the narrative and their primary motivation in doing so. Widening the focus to explore the implications of this analysis on the ethical and narrational planes, the thesis draws together the strands of scripting, presentness, self-other interactivity and problems of faith and doubt in order to discuss the nature of the ethical and narrational ideals posited by the novel, and the role these themes play in creating a sense of unity in the text, despite its unusual structuring.

<p>Ett ovårdat språkbruk bland de yngre eleverna är något som har uppmärksammats av studiens författare. Ett ovårdat språkbruk definieras i studien till svordomar och/eller könsord i relation till svordomar. Syften med studien är att undersöka vad erfarna lågstadielärare anser är ett ovårdat språkbruk. Vidare är syftet att ta reda på hur lågstadielärare enligt sina erfarenheter uppfattar orsaker till ett ovårdat språk och hur de bemöter de yngre elever som använder ett sådant språk. Undersökningen har skett genom kvalitativa ostrukturerade intervjuer. Resultatet visade att en lågstadielärare upplever att de yngre eleverna använder ett ovårdat språk medan resterande upplever att eleverna använder ett bra språkbruk. Lågstadielärarna ansåg också att ovårdat språk främst innebär svordomar men även könsord, slanguttryck och grammatiskt felanvända ord. Resultatet i studien har lett fram till slutsatsen att anledningarna till att elever använder ett ovårdat språk är flera. Lågstadielärarna menar att det beror på det språkbruk som föräldrarna använder, samhällsförändringar samt på media. Ett bemötande i lugn ton är att rekommendera samt att man som lärare föregår med gott exempel.</p><br><p>A bad language use among the younger pupils is something that has been paid attention to according to the authors of the study. A bad language use is in the study defined as swearword and/or a use of four-letter words together with swearword. The study aims to examine what experience primary teachers thinks is a bad language. Further more aims the study investigate what primary teachers according to their experience understand reasons of a bad language use and how they answer the younger pupils using such a language.The investigation has been carried out by qualitative unstructured interviews. The results showed that one primary teacher experienced that the younger pupils are using a bad language, the remaining experienced that pupils use a good language. Primary school teachers also found that bad language use mainly means swearword but also four-letter words, slang words and grammatical errors using the word. The result of the study give the conclusion that there are many reasons why pupils use bad language according to the primary teachers. They mean that it depends on which language their parents use, changes in the society and the media. The best way to answer these pupils is in a calm voice and to be a good ideal for them.</p>

This thesis examines the construction and functions of intellectual disability in the modernist literature of the American South from 1925-1940. The period saw a remarkable proliferation of intellectually disabled figures in various guises. These include William Faulkner's Benjy in The Sound and the Fury which has become one of the most analysed 'idiots' in all literature. However, the wider trend of which he is a part has largely lacked critical attention. Furthermore, the connections between this regional literary trend and the prominence of the eugenic movement in the era have been unexplored. This thesis questions why intellectual disability was so important to Southern writers in particular, and why it appears so frequently in their works. The thesis also examines the extent to which Southern writers incorporated eugenic ideas into their representations and how authors reinforced or challenged contemporary ideas regarding intellectual disability. The thesis offers detailed close readings from a selection of southern writers’ works contextualised with primary and secondary historical source material to adequately trace the period’s social, scientific and aesthetic models of intelligence and intellectual disability. The thesis argues that intellectual disability and eugenics were integral to the ways in which southern writers represented their region, not only in negotating regional and national anxiety regarding southern intelligence, but also acting as a crucial vehicle through which these authors examined the South's uneasy and peripheral relationship with modernity. The thesis adds to a growing understanding of the cultural significance of intellectual disability and the eugenic movement and shows how southern modernists' depictions of intellectual disability were linked to and can illuminate understandings of regional and national debates in the period about intelligence, inheritance, disability, family, community, and modernity.

<p>This study describes how verbal abuse is used in schools and how it affects students. As a  result of the study is a questionnaire which was distributed to 153 students at two schools in a small town in southern Sweden. Students who participated in the study were in grades 3-6 and were between 9 and 13 years old. I asked students 13 questions, which dealt with verbal abuse, some of them were check questions and some were issues that required a longer response.</p><p>The results of the survey show that 108 students of 153 have ever felt verbally abused at school, slightly more girls than boys. Usually they say they have been verbally abused by their own sex and then with words like boys are more frequently offended by words of a sexual nature, whereas girls more often are offended by words that violate their appearance.</p><p>The students who feel aggrieved are shown to be those students who violate others. Students believe they have the right to give back. A relatively large number of students believe that those who want to violate the do it because it's fun. The so called joke-discourse, in which verbal abuse is dismissed with that it´s only jokes or just something that "slipped out" by mistake, have got a place even in middle school. It turns out that about one third of the surveyed students carry a fear of being called something offensive when they are in school. It appears that verbal abuse is a problem very much exists in schools and used in equal proportion of both boys and girls to create a kind of power structure between the sexes but also within their own sex.</p>

La figure de l’idiot sert de clé pour pénétrer l’imaginaire personnel de Charyn. Ce motif récurrent n’en est pas pour autant immédiatement intelligible, l’écrivain mettant en scène une idiotie aux multiples visages, fruit d’une vision éminemment personnelle. En dépit d’un intertexte très présent (emprunt au personnage séminal du Benjy de Faulkner), l’œuvre se distingue par une prise d’autonomie par rapport à un modèle littéraire donné ou à la représentation d’un idiot-type. La première partie fait une typologie de l’idiotie entendue comme rapport problématique au monde et en particulier au langage (« dumbness »). Observé au prisme de l’opposition normalité/anormalité, le personnage de l’idiot est d’abord perçu comme monstrueux et il est marginalisé sur plusieurs plans (spatial, discursif, narratif), même si le récit problématise parfois cette mise à l’écart. Lorsque l’altérité radicale de l’idiot est transgressive, il est le nouveau centre d’un univers dont il est sujet et non plus objet. La seconde partie examine la dimension autoréférentielle du personnage de l’idiot, que Charyn replace dans le contexte spécifique de son enfance dans le Bronx des années quarante, où il a grandi entouré d’immigrants illettrés et traumatisés. À cette idiotie environnante s’oppose l’idiotie singulière de Jerome, devenu paradoxalement l’idiot de la famille car il est le seul à poursuivre une éducation et à acquérir un langage. Enfin, la troisième partie examine la régénération de l’idiot par la toute-puissance de la littérature, plus précisément d’une écriture autofictionnelle, à la fois autoréférentielle et mythologisée. Charyn devient son propre personnage, un idiot nommé Jerome, et réinvente également les « idiots » qui ont peuplé son enfance (le père Sam, la mère Fannie, le frère Harvey). La musique averbale de l’écrivain, son idiolecte, finit par s’extérioriser en un langage intelligible, une voix littéraire originale et idiosyncrasique<br>The figure of the idiot provides a key to Charyn’s imaginary landscape. The recurrence of the motif does not mean, however, that it is immediately intelligible. Charyn’s idiocy is, indeed, multifaceted and originates in an essentially personal vision. Despite undeniable intertextual references – Charyn names Faulkner’s Benjy as a main source of inspiration – marked deviations testify to his independence from other literary models or from the archetypal representations of idiocy. The first part is a typology of idiocy understood as a problematic interaction with the world and in particular with language. Seen at first through the lens of the normal/abnormal dichotomy, the character of the idiot is perceived as monstrous and marginalized on the threefold level of space, speech and story. In some cases the idiot’s radical otherness becomes transgressive, turning him into the center, the subject rather than the object of a then entirely subjective universe. The second part shows the self-reflexive dimension of the idiotic character, through the description of the illiterate Bronx of the forties where he grew up surrounded by traumatized immigrants. This pervasive idiocy contrasts with Charyn’s own singular version of it – he is paradoxically the family idiot because he is the first one to get a degree and to evolve from dumbness towards articulateness. The third part deals with the regeneration of the figure of the idiot through the power of literature, specifically through autofictional writing, both self-reflexive and mythologized. Charyn becomes his own character, an idiot named Jerome, and reinvents his childhood idiots (his father Sam, mother Fannie, brother Harvey). The writer’s wordless music, or idiolect, is eventually externalized, giving birth to an original, idiosyncratic literary voice