How do we perceive robots practising a task that we have taught them? While learning, human trainees usually provide nonverbal cues that reveal their level of understanding and interest in the task. Similarly, nonverbal social cues of trainee robots that can be interpreted naturally by humans can enhance robot learning. In this article, we investigated a scenario in which a robot is practising a physical task in front of the human teachers, who were asked to assume that they had previously (...) taught the robot to perform that task. Through an online experiment with 167 participants, we examined the effects of different gaze patterns and arm movements with multiple speeds and various kinds of pauses on human teachers’ perception of different attributes of the robot. We found that the perception of a trainee robot’s attributes can be systematically affected by its behaviours. Findings of this study can inform designing more successful nonverbal social interactions for intelligent robots. (shrink)

The examination of power, space, and identity formation within diasporic literature has garnered significant attention due to the escalating global mobility of migrants across the world. This article studies the complex integration of spatial hierarchy, civil violence, and gendered responses to power representations in Jhumpa Lahiri’s novel, The Lowland (2013). We utilise Henri Lefebvre’s theories to dissect the spatial dynamics of the novel across three dimensions: representations of space and conceived space, spatial practice and perceived space, and representational space and (...) lived space. Lefebvre’s framework is instrumental in understanding how physical and conceptual spaces can simultaneously serve as tools for domination and sites for transformative resistance. The novel weaves distinct spatial realms, such as the exclusive Tolly Club and the diminishing lowland, to symbolise postcolonialism and state control. The findings highlight how conceived space is portrayed as a postcolonial realm marked by violence and gendered spatial injustice, reflecting male dominance and societal norms that suppress female subjectivity. However, the study also reveals that this conformity is not static but showcases the agency of female characters like Gauri and Bijoli in resisting and renegotiating spatial constraints. (shrink)

Bangladesh experienced a massive surge in humanitarian crises after the 1971 Liberation War due to the systematic use of violence at both public and private spheres. Fictional accounts of the post-conflict period depict women as subjected to institutionalised sexism and aggravated physical and mental violence. Critical studies on such narratives often reiterate a stereotypical and essentialising discourse surrounding women’s identity, characterising them as helpless and passive victims of discrimination and exploitation. Drawing upon Judith Butler’s notions of precarity and agency, we (...) argue that the Bangladeshi-born British writer Tahmima Anam’s The Good Muslim transcends victimhood narratives by creating a more nuanced image of woman as vulnerable victims and resisting subjects at the same time. The novel is preoccupied with notions of vulnerability, violence, religious zealotry, and family estrangement. The findings reveal that the precariousness of women in the post-war period is caused and aggravated by violence and oppression perpetrated at political, social, and religious spheres. Female characters like Maya and Piya are presented as empowered agents of transformation when it comes to vulnerable situations that render them as insignificant and precarious. The study concludes that the novel contests and alters the stereotypical representations of women embedded in normalising and hegemonic discourses. (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary against (...) the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)