The association between online Flow and Internet Gaming Disorder (IGD) has attracted significant attention. Despite the consensus that online Flow plays a pivotal role in the development of IGD and other Internet addictive behaviours, there has been a lack of consistency in measurement scales used to assess online Flow. Even widely used measures of online Flow have not been psychometrically assessed across culturally diverse populations of gamers. Such an assessment would enhance the accuracy of cross-cultural comparisons regarding the association between (...) online Flow and IGD. Attending to this need, the present study assessed the psychometric properties of the binary coded (i.e. Yes, No) Online Flow Questionnaire (OFQ), while concurrently taking into consideration country, age, language, and mode of data collection (online or face-to-face) differences. Two sequences of successive multiple group confirmatory factor analyses were used to assess the psychometric properties of the OFQ, between: a) emergent adults from the United States of America (N = 482, Mage = 25.23, SD = 2.746) and Australia (N = 168, Mage = 23.55, SD = 3.37) and b) adolescents from Greece (N = 1579, Mage = 16.12, SD =.849) and Cyprus (N = 1372, Mage = 15.54, SD =.656). Configural and partial metric invariance were confirmed between the USA and Australian samples. For the Greek and Cypriot samples, results indicated full configural and metric invariance. These results provide initial information to researchers and clinicians of the extent to which the OFQ maintains its consistency when used across cultures and invite for further cross-cultural studies in the field. Implications, as well as limitations, are discussed. (shrink)

The history of the self is a flourishing field. Nevertheless, there are some problems that have proven difficult to overcome, mainly concerning teleology, the universality or particularity of the self and the gap between ideas and experiences of the self. In this article, I make two methodological suggestions to address these issues. First, I propose a ‘queering’ of the self, inspired by recent developments in the history of sexuality. By destabilizing the modern self and writing the histories of its different (...) and paradoxical aspects, we can better attend to continuities and discontinuities in the history of the self and break up the idea of a linear and unitary history. I distinguish 4 overlapping and intersecting axes along which discourses of the self present themselves: interiority and outer orientation; stability and flexibility; holism and fragmentation; and self-control and dispossession. Second, I propose studying 4 ‘practices of self’ through which the self is created, namely: techniques of self; self-talk; interpreting the self; and regulating practices. Analysing these practices allows one to go beyond debates about experience versus expression, and to recognize that expressions of self are never just expressions, but make up the self itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charles Faulkner Bryan: His Life and MusicTerese M. VolkCarolyn Livingston, Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003)There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice is (...) to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music.Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211]Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time... grounded in reality and yet visionary."3In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith.Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell... (shrink)

In today's multi-ethnic classroom, multiculturalism plays an increasingly vital role. What it is, how it developed, and what it means for education, especially music education, are the questions that form the essence of this book. Music, Education, and Multiculturalism traces the growth and development of multicultural music education in the United States from its start in the early 1900s to the present, and describes the state of multicultural music education internationally. Beginning with a discussion of the philosophical foundations surrounding multiculturalism, (...) Part I addresses the various definitions of multiculturalism and its associated problems and possibilities in both education at large and music education in particular. It offers a succinct discussion of the various philosophical concepts and rationales for a multicultural approach, and concludes with current thoughts and applications in music education. Part II follows multicultural music education in the U.S. as it paralleled changes in general education brought about by social and historical events. The last chapter in this section outlines multiculturalism in music education around the world. Part III focuses on the implications of multiculturalism for music education, both in teacher training and in classroom instruction. Designed to assist music educators at all levels in understanding and implementing multicultural education, Music, Education, and Multiculturalism provides suggestions for curricular development, offers teaching strategies, and provides practical applications including materials and methodologies. Combining personal narrative and oral history with the support of primary and archival documents, this text is essential reading for all students and teachers of the history and foundations of music education and of multiculturalism in general education. (shrink)

Global capitalism is a transnational “operational space” which is produced by the practices of states, policy- and issue-specific government networks, and private organizations such as transnational corporations, global law firms, and standard-setting agencies. This “operational space,” which I call the transnational constellation, works through and beyond distinct spatial settings, endowing them with a global financial capitalistic logic and limiting the scope of democratic self-determination. In the second section, I analyze political protest against this transnational constellation in terms of democratic theory. (...) I argue that transnational protest and activism have to be appreciated for their reshaping of spaces of the political, for developing and delivering a genuinely global perspective on political problems, and for their politicization of the transnational constellation by revealing and contesting structures and strategies of domination. However,... (shrink)

Trivers’s theory of parental investment suggests that adults should decide whether or not to invest in a given infant using a cost-benefit analysis. To make the best investment decision, adults should seek as much relevant information as possible. Infant facial cues may serve to provide information and evoke feelings of parental care in adults. Four specific infant facial cues were investigated: resemblance (as a proxy for kinship), health, happiness, and cuteness. It was predicted that these cues would influence feelings of (...) parental care for both sexes, but that resemblance would be more important for men than women because of the importance of paternity uncertainty in the ancestral environment. Seventy-six men and 76 women participated in a hypothetical adoption task in which they made judgments of infant faces. Average zero-order, partial, and component score correlations all revealed that men placed primary emphasis on cues of resemblance, while women placed primary emphasis on cues of health and cuteness (cues of infant quality). The correlations also showed that men placed a significantly greater emphasis on cues of resemblance than did women. (shrink)

The phrase ‘critique of power’ refers to that analytical program within social philosophy that concerns the discord between the individual and the social orders. From the perspective of many critical theorists, Hannah Arendt’s conception of power, however, is considered unsuitable for such a critical enterprise. In contrast to this assumption, the article argues for reading Hannah Arendt’s concept of power in the light of a critical theory of the political. The critical potential of her thoughts is embedded in her concept (...) of power, which provides an as yet disregarded but highly relevant approach for the analysis of contemporary political orders. Despite the great number of writings concerned with Arendt’s concept of power, this critical potential has not yet been unfolded. This is primarily due to a constricted reading of her concept of power where it is seen as per se normatively positive and non-repressive. In order to overcome this misleading interpretation, the article reconstructs Arendt’s concept of power and argues that her political thinking should be literally read as a critique of power. To illustrate this critical potential, the article unfolds 5 dimensions of Arendt’s analysis of power: the political-parcipitative; the socio-economic; the political-institutional; the ideological-critical; and the ethical. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charles Faulkner Bryan: His Life and MusicTerese M. VolkCarolyn Livingston, Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003)There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice is (...) to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music.Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211]Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time... grounded in reality and yet visionary."3In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith.Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell... (shrink)

Cedant arma togae, ‘let arms yield to the toga’. Thus begins the famous verse from Cicero's poem on his consulship that highlights the protagonist's suppression of the Catilinarian conspiracy by favourably contrasting this political achievement with success on the battlefield. But how does the line continue? Its conclusion is transmitted in two different versions,concedat laurea laudiandconcedat laurea linguae, and scholars have long been divided over which one is Cicero's original text. In this paper, we revisit the issue and not only (...) propose an answer to the question of what Cicero actually wrote, but also examine those attestations of the verse that date to the author's own lifetime, elucidating the contexts that account for the quotation of one variant rather than the other. (shrink)

One of the most famous scenes in classical literature is theDichterweiheat the beginning of theTheogony: when Hesiod was tending his sheep below Mount Helicon, the Muses approached him, provided him with a staff and a divine voice, and told him to sing of the blessed, everlasting gods.

Spatestens seit dem emotional turn in den Kulturwissenschaften zu Anfang dieses Jahrhunderts ist die Leibphanomenologie von Hermann Schmitz kein Geheimtipp mehr. Die Zahl der Studien, die sich mit ihr auseinandersetzen, ist heute kaum uberschaubar. Der Band versucht nach knapp einem halben Jahrhundert Wirkungsgeschichte eine Art Zwischenbilanz zu ziehen. Er fragt, inwiefern und in welchen Kontexten sich die von Schmitz erarbeiteten Kategorien des eigenleiblichen Spurens bewahrt haben. Die Beitrage erortern die gespurte Leiblichkeit in ihrer Verflechtung mit Sachverhalten wie Geschichte, Kultur, Person, (...) Geschlecht sowie als Aktionsfeld leiblicher Kommunikation und zeugen davon, dass das von Schmitz begonnene Projekt uber die Philosophie hinaus auch von anderen Wissenschaften stetig erganzt und weiterentwickelt wird. Vor dem Hintergrund eines sich am Leitmodell des sicht- und tastbaren Korpers orientierenden Denkens konnten sprachliche Ausdrucke fur leibliches Erleben nur als Skandal der Metapher (Strub) begriffen werden. Die Leibphanomenologie bietet dagegen einen alternativen Zugang, dem aber der Korper, wie Schmitz sagt, zum Skandal wird. Diesem schwierigen Verhaltnis von Leib und Korper geht der Band nach, um das Skandalose theoretisch einzuholen. Mit Beitragen von Kerstin Andermann, Undine Eberlein, Thomas Fuchs, Ute Gahlings, Robert Gugutzer, Christian Julmi / Ewald Scherm, Steffen Kammler, Gudula Linck, Gesa Lindemann, Isabella Marcinski, Jan Slaby, Hermann Schmitz und Jens Soentgen. (shrink)

Der Titel der vorliegenden Studie mag verwundern, gilt doch die Erbauliche Geschichte von Barlaam und Ioasaph als „dogmatischer Roman oder eine in Form eines Romans eingekleidete Dogmatik“ bzw. als „der berühmteste und beste geistliche Roman des Mittelalters“. Von seinem eigentlichen Ursprung an – einer Lebensbeschreibung Buddhas – weist der Barlaam jedoch verschiedene Passagen von im weitesten Sinn medizinischer Thematik auf, und diese sind eine zu Vergleichszwecken vorzüglich geeignete überschaubare Auswahl, die den Blick auf einige durchaus beachtenswerte Details zu lenken vermag.

In this commentary on Denis Noble’s paper, I focus on his use of the term “illusion,” and juxtapose it with other potential terms, in particular several others he has used for similar points in his book, Dance to the Tune of Life. His use of “illusion,” if more fully explicated, might be of even broader applicability than in his paper. I ask about potential classes of errors in science and remark about his “principle of biological relativity.”.

Prikaz analize mogucnosti dijaloga, kao preduvjeta drustvenog i religijskog pluralizma, na temelju filozofije simbolickih formi Ernsta Cassirera, tema je ovog clanka. Sredisnji dio clanka obuhvaca prikaz osnovnih elemenata filozofije simbolickih formi, potom prikaz odnosa svijesti, simbolickih formi i slobode, zatim opcih postavki Cassirerove analize mita, te njegov opis tehnika modernih politickih mitova. Prikaz ovih elemenata Cassirerove filozofije ima za cilj pokazati aktualnost njegove misli s obzirom na problematiku dijaloga i pluralizma, te ukazati na primjenjivost njegove misli glede analize prisutnosti mitske (...) svijesti u modernim drustvima, pa tako i u drustvima na podrucju bivse Jugoslavije. U zakljucku se nastoji sabrati bogatstvo Cassirerovih analiza i to sazeto primijeniti na analizu situacije na naznacenim podrucjima te ukazati na pravce trazenja mogucih rjesenja. (shrink)