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Radha Devi and Yashpal Singh narrate The Family Story
No full textRadha Devi and Yashpal Singh complete set-up 2 of the Family Story Task, a picture-based stimulus task. They sit back to back in the first instance: Yashpal describes the content of pictures 5, 7, 9, 12 & 15, and Radha, based on his description, tells him how to arrange the five pictures so as to make a story. Afterwards, they tell the story. This set-up turned out to be more manageable for both participants than the initial 16-picture task. The recording was made in Radha's second home in Dhangdhangshi, located further down Rakchham village
Devi-Mahatmya. El canto de la Diosa Suprema
No full textEl Devi-Mahatmya o El canto de la Diosa Suprema es un texto sumamente importante dentro de la civilización india. Ha formado parte de su diversidad cultural y su tradición filosófica-religiosa durante los últimos 1.500 años. La historia canta la magnanimidad y majestuosidad de Devi, la Diosa Suprema, que constituye la realidad transcendental del cosmos, formada por el principio femenino.
El texto narra la lucha de Devi contra los grandes demonios, que representan las diversas manifestaciones del mal. A través de sus himnos y mitos, el poema plantea cuestiones existenciales que han estado presentes en la historia de la humanidad desde tiempos ancestrales: metáforas relacionadas con nuestro propio mundo físico, emocional y espiritual, derivadas de las situaciones a las que continuamente nos enfrentamos. El enigmático y mágico poder de existir y fluir se entreteje con esta majestuosidad cósmica y sublime, la de Devi y su poder infinito
Ananda Devi – pisarka skrzyżowania kultur
No full textAnanda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits.Ananda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits
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Seema Devi narrates the Jackal and the Crow
No full textSeema describes each picture of the Jackal and the Crow, a picture-based stimulus task. She tells the whole story, and then tells the story from the jackal’s perspective. Before being recorded, Seema mentioned that she was familiar with the story. The recording was made at her home at the very beginning of Rakchham village
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Meena Kumari and Seema Devi narrate The Family Story
No full textMeena and Seema complete set-up 1 of the Family Story Task, a picture-based stimulus task. They describe the 16 pictures and then rearrange them in whatever order they think is right. Then, they tell the whole story from start to finish. In this case, the final step of re-telling the story from another perspective was skipped because there was no third participant. The recording was made at Uma Homestay in Rakchham village
Ananda Devi, “Dépaysement de la fiction”
No full textNée en 1957 à l’île Maurice, Ananda Devi est ethnologue de formation, traductrice de métier, et auteure de plus de vingt-cinq publications, comprenant des romans et des essais ainsi que des recueils de nouvelles et de poésie. Publiés principalement aux éditions Gallimard et Grasset à Paris, ses livres ont été traduits dans plus de douze langues et son œuvre a été primée dans de nombreux contextes. Elle a été nommée Chevalière dans l’Ordre des Arts et des Lettres en 2010 et elle a été honorée..
Tecnologie la lavoro nei processi produttivi e riproduttivi
No full textLe tecnologie dell’informazione e della comunicazione hanno modificato profondamente molti posti di lavoro nei settori più diversi. Nel corso dell’ultimo biennio, la contingenza derivante dalla pandemia ha evidenziato come queste trasformazioni possano essere molto più articolate di quanto sperimentato fino alla fine del 2019. In effetti, l’impatto del Covid-19 sulla vita lavorativa di milioni di persone è stato enorme, determinando cambiamenti profondi, seppure temporanei. L’applicazione massiva del lavoro da remoto ha fornito un contesto privilegiato per osservare empirica-mente le conseguenze di questa modalità rivelando le tensioni interpretative intorno a questo tema nonché la necessità di superare la mera descrizione.
La divisione tra lavoratori che erano considerati essenziali e che quindi dovevano continuare a operare in presenza e quanti invece potevano lavo-rare da casa ha prodotto un certo dibattito in merito all’economia fondamentale . Come è emerso durante la pandemia, per una parte consistente dei lavoratori il lavoro da remoto è “tecnologicamente” possibile, sebbene la comunicazione in presenza sembra rimanere una forma di cooperazione vitale per gestire il lavoro di gruppo e per sostenere i processi di innovazione. Mentre a lungo il lavoro da remoto è stato osteggiato e svolto da un esiguo numero di professionisti, molti dei quali uomini, improvvisamente è diventato centrale per sostenere i processi produttivi a livello internazionale. Tuttavia, se le interconnessioni garantite dalla rete informatica che pare-vano destinate a modificare per sempre il modo di operare, in realtà, nei mesi in cui scriviamo, fine estate 2021, sono molte le spinte a ritornare “in presenza”. Le tensioni tra il lavoro in presenza e a distanza, almeno per quelle mansioni per cui quest’ultimo è possibile, evidenziano come l’applicazione delle tecnologie non solo sia legata a elementi quali la cooperazione, il controllo e l’autonomia, ma si estenda anche in modo importante ai tempi e all’organizzazione della vita quotidiana. In effetti, la questione del lavoro in presenza o da remoto non si limita solo alle relazioni lavorative chiamando in causa interessi diversi. La rottura del normale corso dei processi produttivi e riproduttivi causati dalla pandemia permette quindi di riflettere su alcuni aspetti del lavoro e della cosiddetta “questione tecnologica” .
In questo saggio mantenendo un’attenzione alle riflessioni sul lavoro da remoto, ci soffermeremo in particolare su due tra i principali argomenti affrontati dalla letteratura sull’impatto delle innovazioni tecnologiche. La prima questione attiene ai cambiamenti nei mercati del lavoro, nelle mansioni e nell’organizzazione dei processi lavorativi. La seconda, invece, at-tiene alle ripercussioni delle innovazioni tecnologiche nel rapporto tra pro-cessi lavorativi e riproduttivi
Ananda Devi: a writer at the crossroads of cultures
No full textAnanda Devi is a francophone-Mauritian writer who lives (and creates) near Geneva. She is the author of numerous novels, short stories and volumes of poetry. Although the stories of her characters are fictitious, Devi’s texts are strongly inspired by her native island, its history and its ethnic, cultural and linguistic heterogeneity. In her novels, Devi employs numerous stylistic devices to empower individuals who are regarded as worse, excluded from the society due to their deficits
Arcithelphusa Pati & Sudha Devi 2015
No full textArcithelphusa Pati & Sudha Devi, 2015 (Figs. 2 A–F, 3B, C, D, E–K, N–P, 4A–F) Arcithelphusa Pati & Sudha Devi 2015a: 35; Pati et al. 2017: 1297 (list); Rajesh et al. 2017: 134 (list); Pati & Thackeray 2018: 10 (list). Type species. Arcithelphusa cochleariformis Pati & Sudha Devi, 2015, by original designation; gender feminine. Diagnosis [emended from Pati & Sudha Devi (2015a)]. Carapace ovate, broader than long (cw/cl = 1.2–1.4), relatively deep (ch/cw = 0.6–0.7); dorsal surface arched, almost smooth; anterolateral margin lacking distinct serrations; front strongly deflexed, with narrow frontal margin (fw/cw = 0.25); epigastric cristae only visible as 2 low, broad, oval protuberances; postorbital cristae indistinct; external orbital angle indistinct; epibranchial tooth indistinct; branchial regions highly inflated; cervical grooves relatively shallow, not reaching beyond level of postorbital cristae; frontal median triangle incomplete, lateral margins indiscernible; epistome posterior margin with triangular median lobe and sinuous lateral lobes (Figs. 2A, B, D, E, 4A, B, D, E). Third maxilliped exopod longer than ischium, lacking flagellum or with relatively short flagellum, ca. 0.5× width of merus (Fig. 3B, N). Chelipeds relatively smooth (Figs. 2 A–F, 4A–F). Ambulatory legs slender, long (Figs. 2 A–F, 4A–F). Suture between male thoracic sternites s2/s3 shallow or deep, broad, not reaching edge of sternum; suture between male thoracic sternites s3/s4 deep, broad, reaching edge of sternum (Figs. 2C, F, 3C, 4C). Pleonal locking mechanism with low, anteriorly directed tubercles on each antero-submedial part of sternite 5 (Fig. 3I). Male sternopleonal cavity long, reaching imaginary line joining medial part of cheliped coxae (Figs. 2C, F, 4C). Male pleon narrowly triangular, with concave lateral margins; pleonal somite 6 trapezoidal, broader than long, with gently convex lateral margins (Figs. 2C, F, 3D, 4C). Male telson narrow, with strongly concave lateral margins; apex rounded (Figs. 2C, F, 3D, 4C). G1 relatively stout, with large flexible zone, tip not reaching pleonal locking structure; terminal segment relatively short, ca. 0.3–0.4× length of subterminal segment, medial portion distinctly curved outwards, dorsal flap absent or low, broad; subterminal segment relatively stout, with strongly convex outer margin at basal half (Fig. 3 E–G, I, J, O). G2 short, ca. 0.6–0.7× length of G1; distal segment very short, ca. 0.2× length of basal segment (Fig. 3H, K, P). Remarks. Among the Indian genera of gecarcinucid crabs, Arcithelphusa is most close to Cylindrotelphusa in carapace morphology and gonopod structures (see Pati & Sudha Devi 2015a; Pati et al. 2017). Both the genera can be distinguished from other Indian gecarcinucid genera mainly by the presence of a relatively deep carapace (ch/cw = 0.5–0.7), a narrow frontal margin (ca. 0.25 times the carapace width), an incomplete frontal median triangle, and a short G2 distal segment (ca. 0.2–0.3 times the length of the basal segment) (Figs. 2B, E, 3H, K, P, 4B, E; see Bahir & Yeo 2007: figs. 4D, 5B; Pati et al. 2017: figs. 11b, 12d, 13b, 14d). Other major characters common to both are their strongly convex dorsal surface, the highly inflated branchial regions, the prominent and triangular median lobe on the epistome posterior margin, a narrowly triangular male pleon, and a short G2 (Figs. 2 A–F, 3D, E, H, J, K, O, P, 4A–E; see Bahir & Yeo 2007: figs. 4A, D, 5A–C; Pati et al. 2017: figs. 11a–c, h, 12a, d, 13a–c, h, 14a, d). While they share many features of the carapace and gonopods, the flagellum on the exopod of the third maxilliped shows considerable variations. The flagellum on the third maxilliped exopod is altogether absent in A. cochleariformis (Fig. 3N) whereas it is distinct but short in A. tumpikkai sp. nov., reaching nearly half the merus width (Fig. 3B). On the other hand, all the species of Cylindrotelphusa have a well-developed and relatively long flagellum on the third maxilliped exopod, which reaches up to 0.6–0.7 times the merus width (see Pati et al. 2017: figs. 11i, 13i). The variations in the length of the flagellum on the third maxilliped exopod could be associated with the ecological requirements of each species of Arcithelphusa and Cylindrotelphusa. According to Cumberlidge (1999), the presence of a long flagellum on the third maxilliped exopod of a crab is a plesiomorphic state, and the absence of the said flagellum is an apomorphic state, which is common in air-breathing crabs and mostly associated with the adaptations of the respiratory system by the relatively terrestrial species of freshwater crabs (see Ng & Shokita 1995). Cumberlidge (1999) also noted that this character is useful to distinguish some genera of the West African crabs. The presence or absence of a flagellum on the third maxilliped exopod, however, is not a reliable character to exclusively define Arcithelphusa and Cylindrotelphusa because the condition of the flagellum varies considerably among their species depending upon the habitat preferences. Huang (2018) recently found that some crab genera are strikingly similar in external morphology, and the use of the G1 characters alone could be problematic to define them. In these situations, he suggested using a combination of characters that are apparently under less environmental selective pressure, such as male pleon, G1, and female vulvae. Furthermore, a molecular study has now become necessary to support morphological data (see Shih et al. 2016; Huang 2018). Currently, no molecular data is available for Arcithelphusa and Cylindrotelphusa, and the female vulvae were not described for all the species. Their male pleon is quite similar in morphology. On the contrary, the G1 structure is a reliable character to set them apart. While the generic treatment of Arcithelphusa needs investigation based on morphological and molecular data, we still continue to recognize the genus and provide here an emended diagnosis to accommodate both A. cochleariformis and A. tumpikkai sp. nov. Arcithelphusa can be now distinguished from Cylindrotelphusa by the following suite of characters: the anterolateral margins of the carapace lack distinct serrations (Figs. 2A, D, 4A, D) (vs. with distinct serrations; see Bahir & Yeo 2007: fig. 5A; Pati et al. 2017: figs. 11a, 13a); the third maxilliped exopod lacks a flagellum (Fig. 3N) or with a short flagellum that reaches half the merus width (Fig. 3B) (vs. with a well-developed flagellum that reaches beyond half the merus width; see Pati et al. 2017: figs. 11i, 13i); the chelipeds are relatively smooth (Figs. 2 A–F, 4A–F) (vs. rugose; see Bahir & Yeo 2007: fig. 5A–C; Pati et al. 2017: figs. 11a, c, d, 13a, c, d); the G1 is relatively stout with a large flexible zone (Fig. 3 E–G, J, O) (vs. relatively slender with a reduced flexible zone; see Bahir & Yeo 2007: fig. 4A–C; Pati et al. 2017: figs. 12a–c, 14a–c); the G1 terminal segment is relatively short, ca. 0.3–0.4 times the length of the subterminal segment (Fig. 3E, J, O) (vs. relatively long, ca. 0.4–0.6 times the length of the subterminal segment; see Bahir & Yeo 2007: fig. 4A; Pati et al. 2017: figs. 12a, 14a); the G1 subterminal segment is relatively stout, with a strongly convex outer margin at the basal half (Fig. 3E, F, J, O) (vs. relatively slender, with a straight to gently convex outer margin at the basal half; see Bahir & Yeo 2007: fig. 4A, B; Pati et al. 2017: figs. 12a, c, 14a, c). Distribution. The genus is endemic to the Western Ghats of India and known only from Wayanad district of Kerala (Fig. 1).Published as part of Pati, S. K., Sujila, P. S. & Devi, A. R. Sudha, 2019, Description of a new species of freshwater crab of the genus Arcithelphusa Pati & Sudha Devi, 2015 (Decapoda: Brachyura: Gecarcinucidae) from the Western Ghats, Kerala, India, pp. 203-214 in Zootaxa 4674 (2) on pages 205-207, DOI: 10.11646/zootaxa.4674.2.2, http://zenodo.org/record/345892
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Radha Devi and Yashpal Singh narrate The Family Story
No full textRadha Devi and Yashpal Singh complete set-up 2 of the Family Story Task, a picture-based stimulus task. They sit back to back in the first instance: Yashpal describes the content of pictures 5, 7, 9, 12 & 15, and Radha, based on his description, tells him how to arrange the five pictures so as to make a story. Afterwards, they tell the story. This set-up turned out to be more manageable for both participants than the initial 16-picture task. The recording was made in Radha's second home in Dhangdhangshi, located further down Rakchham village
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