PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this (...) book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

This paper presents a theoretical framework of the circular shift network coding system through the study of nonmultiple clustered interval music performance style conversion and the analysis of music conversion by using circular shift topology, and a series of basic research results of circular shift network coding is obtained under this framework. It reveals the essential connection between scalar network coding based on finite domain and cyclic shift network coding, designs a solution construction algorithm for cyclic shift network (...) coding under multicast network, and portrays the multicast capacity of cyclic shift network coding. It overcomes the problem that the piano roll-curtain representation cannot distinguish between a single long note and multiple consecutive notes of the same pitch, describes musical information more comprehensively, extracts musical implicit style from the note matrix based on autoencoder, and better eliminates the potential influence of musical content on musical performance style. A two-way recurrent neural network based on the gated recurrent unit is used to extract a sequence of note feature vectors of different styles, and a one-dimensional convolutional neural network is used to predict the intensity of the extracted note feature vector sequence for a specific style, which better learns the intensity variation of different styles of MIDI music. (shrink)

Music is an abstract art form that uses sound as its means of expression. It has deeply affected our lives. This paper proposes a method for extracting segment features from nonmultiple cluster music files. We divide each piece of music into multiple segments and extract the features of each segment. The specific process includes nonmultiple cluster music file note extraction, main melody extraction, segment division, and segment feature extraction. The segment feature is extracted from a segment of a piece of (...) music, contains the main melody and accompaniment information of the segment, and can reflect the sequence relationship of the notes. This paper proposes a performance style conversion network based on recurrent neural network and convolutional neural network. The bidirectional recurrent neural network based on Gated Recurrent Unit is used to extract different styles of note feature vector sequences, and the extracted note feature vector sequence is used to predict the intensity of a specific style, and the intensity changes of different styles of nonmultiple cluster music are better learned. Through the comparison, the multiclassification strategy of “one-to-the-rest” is selected, and the fuzzy recurrent neural network is applied to the shortcomings of the unrecognizable area. Finally, according to the feature extraction method and the principle of the classifier algorithm studied in this paper, a music style classification system is implemented in the MATLAB environment. Experimental simulation shows that this system can effectively classify music performance styles. (shrink)

Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con características chinas. (...) La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. (shrink)

This paper proposes a series of theoretical considerations on the performing styles used in contemporary theatre, according to the relationship the actor establishes with the audience. If Diderot was the first to question frontal relationship, and asked the performer to ignore the spectator, this programme will only be accomplished one hundred years later, with the emergence of the director. Later on, theoreticians such as Meyerhold, Vakhtangov or Copeau will ask for a partial return to performing facing the audience, as a (...) sign of the return to the theatrical tradition dominated by the exigencies of the stage and not by those of the truth. With Piscator and Brecht theatre rediscovered frontality, as a sign of the wish to engage the auditorium as an active partner of dialogue. The author discusses several avatars that this new frontality acquires in presentday theatre. (shrink)

Academic performance is among the several components of academic success. Many factors, including socioeconomic status, student temperament and motivation, peer and parental support influence academic performance. Our study aims to investigate the determinants of academic performance with emphasis on the role of parental styles in adolescent students in Peshawar Pakistan. A total of 456 students from 4 public and 4 private schools were interviewed. Academic performance was assessed based on self-reported grades in the latest internal examinations. (...) Parenting styles were assessed through the administration of the Parental bonding instrument. Regression analysis was conducted to assess the influence of socio-demographic factors and parenting styles on academic performance. Factors associated with and differences between “care” and “overprotection” scores of fathers and mothers were analyzed. Higher socio-economic status, father’s education level and higher care scores were independently associated with better academic performance in adolescent students. Affectionless control was the most common parenting style for fathers and mothers. When adapted by the father, it was also the only parenting style independently improving academic performance. Overall, mean “care” scores were higher for mothers and mean “overprotection” scores were higher for fathers. Parenting workshops and school activities emphasizing the involvement of mothers and fathers in the parenting of adolescent students might have a positive influence on their academic performance. Affectionless control may be associated with improved academics but the emotional and psychosocial effects of this style of parenting need to be investigated before recommendations are made. (shrink)

Supervisory styles Are Key predictors of graduate students’ innovation performance, but the mediating and moderating mechanisms underlying this relationship require further exploration. Based on the job demands-resources model and conservation of resources theory, this study analyzed the influence of supervisory styles on GSIP, including the mediating role of psychological capital and the moderating role of harmonious academic passion. Questionnaires were completed by 400 graduate students from a Chinese university. The results indicated that both supportive and directive supervisory styles were (...) positively related To GSIP, PsyCap fully mediated the relationship between SSS and GSIP, and HAP significantly moderated the effect of DSS but exhibited no moderating influence on the effect of SSS. These findings contribute to a deeper understanding of why, how and when supervisory styles influence GSIP. Implications for both theory and practice as well as the limitations of this research are discussed. (shrink)

Proposing a relationship between Levinasian ethics and film style, and bringing it into a productive dialogue with theories of performativity, this book explores this influence through three directorial bodies of work: those of Barbet Schroeder, Paul Schrader and the Dardenne Brothers.

The COVID-19 pandemic created new conditions for the functioning of all organizations. Suddenly, there was a problem with the lack of appropriate leadership styles models in health care organizations, which are particularly vulnerable to disruptions in a pandemic. Hospitals, in particular, have become exposed to organizational and managerial problems. The article aims to propose an appropriate leadership style model that will guarantee a high level of hospital efficiency, taking into account a pandemic situation in the example of private hospitals (...) in Indonesia. Organizational identification is promoted as a mediating variable due to the high level of this variable in explaining hospital performance in Indonesia based on preliminary studies. During research used a structural equation model using 394 samples at the unit leadership level in private hospitals in Indonesia. The results of this study explain that there is an impact between innovative leadership and strategic leadership styles on hospital performance. Private hospitals in Indonesia need to improve themselves to use the most appropriate leadership style model based on the needs of the hospital itself. (shrink)

This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.

Two hundred and five 14-16 year olds from two Anglophone Canadian schools were given the Canadian Test of Cognitive Skills and the Cognitive Styles Analysis and their grade 9 scores in the subjects of French, English, mathematics, geography and science were obtained. The study first looked at the relationship between cognitive skills and cognitive style. The correlation between cognitive skills and cognitive style approached zero suggesting their independence. Having confirmed the independence of cognitive skills and cognitive style, (...) their interactive effect, including gender, on subject performance was investigated by means of analysis of variance. There was a significant interaction between sex and subject; females were superior to males in all five subjects, but particularly so in French and English. There was also a significant interaction between skill, style and subject in their effect on performance. This was discussed in terms of the role of style in learning and the effect of skill/intelligence on strategy development. (shrink)

In this study, we examined the impact of principals' leadership style on the performance of teachers at the college level. For this purpose, we collect data from 300 college teachers via a random sampling approach. A self-administrated questionnaire was used to collect data. For detecting relationships and differences among the opinions of the study's participants, correlation and the t-test were used. This study has revealed that the majority of college principals practice a democratic style of leadership at (...) a higher level, Laissez-faire at a moderate level, and autocratic at a low level in their colleges. Moreover, it has been also revealed that when principals increase the use of a democratic leadership style, teacher performance may progress as well. The findings revealed that principals' leadership style had a positive impact on the performance of teachers. The study exposed a strong statistically positive relationship between college principals' leadership style and teacher performance. Thus, the results of this study suggest that college principals' should adopt the leadership style according to the level of teachers. The leadership style should be changed with specific situations in the colleges. (shrink)

In order to study the influence of different entrepreneurial psychological leadership styles on organizational learning ability and organizational performance, and to provide theoretical basis for the improvement of organizational benefits of entrepreneurial enterprises in the future, 421 general managers, middle managers, and grass-roots managers of 350 small and medium-sized private enterprises in Beijing were surveyed by questionnaire in two forms: online and on site. Then, a hypothesis model of the relationship between different entrepreneurial psychological leadership styles and organizational learning (...) ability and organizational performance was constructed. The correlation between transformational, transactional, and laissez-faire psychological leadership style and organizational performance and organizational learning ability was analyzed using multiple regression models. AMOS 7.0 software was used to simulate and verify the model. The results show that transformational psychological leadership style is positively correlated with organizational learning ability, financial performance, and growth performance; transactional psychological leadership style is positively correlated with organizational financial performance, growth performance, and organizational learning ability; there is no correlation between laissez-faire psychological leadership style and organizational financial performance and growth performance, but there is a significant positive correlation between laissez-faire psychological leadership style and organizational learning ability. The covariance between the error terms of the internal and external potential variables of the model is positive, and the factor load value of each potential variable and the observed variable is between 0.5 and 1, which shows that transformational and transactional psychological leadership styles have more positive influence on organizational financial performance and learning ability than laissez-faire psychological leadership styles. The hypothesis model of the relationship between entrepreneurial psychological leadership style and organizational learning ability and organizational performance conforms to the adaptation criteria and is feasible. (shrink)

This study investigated the impact of supervisors’ servant leadership on supervisees’ moral identity and subsequent in-role performance. Data from 226 supervisor–supervisee dyads were collected from several domestic and multinational companies operating in the Kingdom of Saudi Arabia. Confirmatory factor analysis was conducted to confirm the factorial validity of the measures that were employed in this study. The hypothesized moderated mediation model was tested using hierarchical multiple regression analysis. Based on social learning theory, the results showed that supervisees’ moral identity (...) served as the psychological mediating mechanism through which supervisors’ servant leadership led to supervisees’ increased in-role performance. Furthermore, the results also supported supervisees’ avoidance orientation as the dispositional boundary condition of this mediating effect. This study contributes to both the servant leadership and moral identity literatures by addressing questions with useful theoretical and managerial implications. (shrink)

During the last decade, in 1958 to be precise, an organizational confrontation took place: the essential issue before its membership was this: should the American Sociological Society be rechristened the American Sociological Association. The results of the vote conclusively demonstrated that for a majority of the participants, it was preferable to be known as a group of ASA's rather than a bunch of ASS's.

BENJAMIN MOFFITT, THE GLOBAL RISE OF POPULISM. PERFORMANCE, POLITICAL STYLE, AND REPRESENTATION, PALO ALTO, STANFORD UNIVERSITY PRESS, 2016.Agustin Cosovschi.

This study examines the effects of leader emotional intelligence, leadership styles, organizational commitment, and trust on job performance. A questionnaire was administered to the participants, who were real estate brokers in Kaohsiung City. Of the 980 questionnaires administered, 348 valid responses were received, indicating an effective response rate of 35.5%. Structural equation modeling was used for the analysis. The results show that leader emotional intelligence has a significant and positive effect on trust in supervisors, and transformational leadership and trust (...) within a team have significant and positive effects on job performance. In addition, organizational commitment has a significant and positive effect on job performance. Trust within a team mediates the significant and positive effect of leader emotional intelligence on job performance. Although transactional leadership has no direct, positive, and significant effects on employee job performance, trust in the workplace shaped by a leader’s leadership style will empower a team’s spirit and boost their morale, thereby indirectly affecting their job performance in a positive manner. (shrink)

Summary The positions of 129 14 to 19?year?old students on two fundamental cognitive styles dimensions (Wholist?Analytic and Verbal?Imagery) were assessed. They then received, by random allocation, one of three versions of a computer?presented instruction package on home hot water systems. The versions differed in terms of their structure (large versus small step), advance organiser (absent or present), verbal emphasis (high versus low), and diagram type (abstract versus pictorial). Version 1 had large step, no organiser, high verbal content, and abstract diagram. (...) Version 2 had small step, no organiser, low verbal content, and pictorial diagram. Version 3 was identical to Version 2, except that an organiser in the form of an elaborated introduction was given in which all five topics were introduced and each section began with an overview and ended with a summary. There was a significant interaction between version and cognitive style in their effect on recall. The results were discussed in terms of their implications for instruction. (shrink)

Theories of affective influences on cognition posit that negative mood may increase cognitive load, causing a decrement in task performance (Seibert & Ellis, [1991]. Irrelevant thoughts, emotional mood states, and cognitive task performance. Memory & Cognition, 19(5), 507–513), or cause a shift to more analytic thinking, which benefits tasks requiring attention to detail (Schwarz & Clore, [1983]. Mood, misattribution, and judgments of well-being: Informative and directive functions of affective states. Journal of Personality and Social Psychology, 45(3), 513–523). We (...) previously reported that individuals who are higher in the trait of emotional reactivity performed better on an inhibitory task with increasing negative mood whereas low-reactive individuals showed the converse pattern (Gabel & McAuley, [2018]. Does mood help or hinder executive functions? Reactivity may be the key. Personality and Individual Differences, 128, 94–99; [2020]. React to act: Negative mood, response inhibition, and the moderating role of emotional reactivity. Motivation and Emotion, 44(6), 862–869). Because high-reactive individuals are more accustomed to negative affect (Nock et al., [2008]. The emotion reactivity scale: Development, evaluation, and relation to self-injurious thoughts and behaviors. Behavior Therapy, 39(2), 107–116), we speculated that negative mood engendered analytic thinking but without a task-incongruent increase in cognitive load – thereby facilitating performance. Here, we induced a heuristic or analytic approach to information processing prior to performance of an inhibitory task and expected different results pending the thinking style induced. In the heuristic condition, increasing negative mood was associated with better performance for high-reactive participants but not their low-reactive counterparts. In the analytic condition, increasing negative mood was associated with better performance irrespective of emotional reactivity. Our results are consistent with the notion that negative mood engenders analytic thinking which may benefit response inhibition provided it does not increase task-incongruent cognitive load. (shrink)

This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It (...) is also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence. (shrink)

Frankfurt-style cases are supposed to constitute counter-examples to the principle of alternate possibilities, for they are cases in which we have the intuition that an agent is morally responsible for his action, even though he could not have done otherwise. In a recent paper, Swenson rejects this conclusion, on the basis of a comparison between standard FSCs, which typically feature actions, and similar cases involving omissions. Because the absence of alternate possibilities seems to preclude moral responsibility in the cases (...) of omissions, and because there is no morally relevant difference between the cases of actions and omissions, Swenson concludes that agents are not morally responsible in standard FSCs. In the present paper, I argue that Swenson’s argument fails because there are at least two very important differences between both types of cases. First, there is a difference about whether agents in such cases actually perform the relevant action: while agents actually perform the relevant action in standard FSCs, they do not in FSCs supposedly involving omissions, for omissions require the possibility to have done otherwise. Second, while the agent’s behavior in standard FSCs actually explain that he performed the relevant action, the agent’s behavior in FSCs including omission actually fails to explain why the agent did not perform the relevant action. Beyond Swenson’s argument, I end up discussing what factors ultimately explain our intuitions about FSCs involving omissions. (shrink)

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of (...) fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living. (shrink)

An analytic cognitive style denotes a propensity to set aside highly salient intuitions when engaging in problem solving. We assess the hypothesis that an analytic cognitive style is associated with a history of questioning, altering, and rejecting supernatural claims, both religious and paranormal. In two studies, we examined associations of God beliefs, religious engagement, conventional religious beliefs and paranormal beliefs with performance measures of cognitive ability and analytic cognitive style. An analytic cognitive style negatively predicted (...) both religious and paranormal beliefs when controlling for cognitive ability as well as religious engagement, sex, age, political ideology, and education. Participants more willing to engage in analytic reasoning were less likely to endorse supernatural beliefs. Further, an association between analytic cognitive style and religious engagement was mediated by religious beliefs, suggesting that an analytic cognitive style negatively affects religious engagement via lower acceptance of conventional religious beliefs. Results for types of God belief indicate that the association between an analytic cognitive style and God beliefs is more nuanced than mere acceptance and rejection, but also includes adopting less conventional God beliefs, such as Pantheism or Deism. Our data are consistent with the idea that two people who share the same cognitive ability, education, political ideology, sex, age and level of religious engagement can acquire very different sets of beliefs about the world if they differ in their propensity to think analytically. (shrink)

In science and technology studies today, there is a troubling tendency to portray actors in the biosciences as “cultural dopes” and technology as having monolithic qualities with predetermined outcomes. To remedy this analytical impasse, this article introduces the concept styles of valuation to analyze how actors struggle with valuing technology in practice. Empirically, this article examines how actors in a bioscientific laboratory struggle with valuing the properties and qualities of algorithms in a high-throughput setting and identifies the copresence of several (...) different styles. The question that the actors struggle with is what different configurations of algorithms, devices, and humans are “good bioscience,” that is, what do the actors perform as a good distribution of agency between algorithms and humans? A key finding is that algorithms, robots, and humans are valued in multiple ways in the same setting. For the actors, it is not apparent which configuration of agency and devices is more authoritative nor is it obvious which skills and functions should be redistributed to the algorithms. Thus, rather than tying algorithms to one set of values, such as “speed,” “precision,” or “automation,” this article demonstrates the broad utility of attending to the multivalence of algorithms and technology in practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.3 (2002) 223-243 [Access article in PDF] Style, Rhetoric, and Postmodern Culture Bradford Vivian Modern rhetoricians habitually avoid the canon of style. The reasons for this avoidance should be familiar to those versed in the disciplinary lore of rhetoric. Since the fifth and fourth centuries B. C. E., when oratorical virtuosos like Gorgias proclaimed that "Speech is a powerful lord, which by means of (...) the finest and most invisible body effects the divinest works" (41), the suspicion that rhetorical style amounts to irrational verbal excess has dogged those who would argue for the moral integrity of the art. Most recently, twentieth-century rhetoricians, Toulmin (1958) and Perelman (1969, 1979, 1982) in particular, realigned rhetoric with the study of argumentation after its apparent reduction, during the eighteenth and nineteenth centuries, to innocuous matters of form and taste by the elocutionist and belletristic movements. Consequently, the aesthetic capacities of rhetoric have received scant attention from modern rhetoricians, who resign considerations of style largely to supposedly regrettable episodes in the history of the discipline. For better or worse, then, modern rhetorical theory lacks a contemporary rationale and methodology for the study of style. 1Beyond unfortunate equations of rhetoric with grandiloquence, this scarcity in recent rhetorical scholarship corresponds to general humanistic and social scientific prejudices against the topic of style. Robert Hariman posits, "Established academic conceptions of style hardly prepare one to take seriously the aesthetic dimension of political experience" (7). As evidence for this claim, he cites Stuart Ewen's reflections on the "frustration" peculiar to research on style: "It seemed to be a universal category," Ewen writes, "transcending topical boundaries, an accolade applied to people, places, attitudes and things... a subject that was, at best, amorphous" (quoted in Hariman, 7-8). Yet the social ubiquity of style—"[o]n news magazines, sports magazines, music-oriented magazines, magazines about [End Page 223] fashion, architecture and interior design, automobiles, and sex"—indicates that it offers "a key to understanding the contours of contemporary culture" (qtd. in Hariman, 7-8). Hence, the paradox of style as a scholarly topic: that which exhibits its cultural importance makes it seem intellectually vacuous.Hariman's treatise on political style offers the most noteworthy attempt in rhetorical studies to remedy these trends; brief consideration of his insights will suggest further objectives for the study of rhetoric and style. 2 In Hariman's estimation, "style ultimately is a significant dimension of every human experience" because "relations of control and autonomy are negotiated through the artful composition of speech, gesture, ornament, decor, and any other means for modulating perception and shaping response. In a word, our political experience is styled" (3, 2). The distinctive contribution of rhetorical inquiry into political style involves "understanding the dynamics of our social experience or the relationship between rhetorical appeals and political decisions" rather than merely "cataloging discursive forms in the artistic text alone" (Hariman, 8).Accordingly, Hariman acknowledges that one must recognize the substantive social and political influences of style apart from its traditional connotations of individual artistic performance. "In this context," he explains, "although style still highlights aesthetic reactions it no longer enforces artistic autonomy. Style becomes an analytic category for understanding a social reality; in order to understand the social reality of politics, we can consider how political action involves acting according to a particular political style" (9). Thus, for Hariman, rhetorical choices in political style need not amount to a valorization of "artistic autonomy": "each political style draws on universal elements of the human condition and symbolic repertoire but organizes them into a limited, customary set of communicative designs... Each is thoroughly conventional, yet the means for personal improvisation and intelligent, innovate responses to unique problems" (11-12). His treatise therefore appears to dissociate style from its outmoded definitions while recommending the utility of rhetorical principles to the study of political culture.What Hariman calls the "cautious postmodernism" (6) of his project, however, hinders its innovative aspirations. The postmodern portion of his work endorses the study of style according to the aesthetic dimensions of social relations rather than "artistic autonomy" alone; but its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

The aim of the present study was to investigate the association between attachment dimensions and neural correlates in response to the Rorschach inkblots. Twenty-seven healthy volunteers were recruited for the electroencephalographic registration during a visual presentation of the Rorschach inkblots and polygonal shapes. The Attachment Style Questionnaire was administered to participants. Correlations between the ASQ scores and standardized low-resolution brain electromagnetic tomography intensities were performed. The Rorschach inkblots elicited several projective responses greater than the polygonal shapes. Only during the (...) Rorschach inkblots presentation, discomfort with closeness and relationships as secondary subscales were negatively correlated with the activation of right hippocampus, parahippocampus, amygdala, and insula; need for approval subscale was negatively correlated with the activation of orbital and prefrontal cortex and left hippocampus. Moreover, the correlations between attachment dimensions and neural activation during the Rorschach inkblots were significantly higher compared to the same correlations in response to polygonal shapes. These findings suggest that attachment style can modulate brain activation during the projective activity of the Rorschach inkblots. (shrink)

ABSTRACTIn two experimental studies, we explored the role of attachment in predicting emotional reactivity after frustration induction. In the first study, using a cognitive frustration task, we examined in a college sample how attachment styles related to the experience and expression of emotions after frustration induction. In the second study, we investigated in college students the effect of conscious priming of the secure base schema on mood disturbance after the performance of a cognitive frustration task. Results showed that individuals (...) experienced and expressed emotions after frustration induction independent of their attachment styles. Conscious priming of the secure base script attenuated self-reported emotional reactivity after frustration induction independent of individuals’ attachment styles. These findings suggest that the mechanism of attachment-related emotional reactivity might not pertain to frustration during an unsolvable cognitive task, but that the activation of... (shrink)

This chapter contains section titled: What Performers do and what Audiences can Know The Features of Performers and Choices that Performers Make Theatrical Conventions as Sequences of Features Having Specific “Weight” What is Involved in Reference to Theatrical Styles More about Styles, as Produced and as Grasped Grasp of Theatrical Style and Deeper Theatrical Understanding.

Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures (...) that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)

Drawing on ethnographic research with two Orthodox Jewish outreach organizations, this article conceptualizes interpellative styles and offers a framework to analyze how styles are variously situated, mediated, performed, and disruptive. I mobilize a micro-interactional approach to parse out how these four dimensions shape ideological recruitment and their roles in the choreographies of identity disruptions and repairs. The two case studies illuminate why and how groups deploy different interpellative styles and what elements shape whether styles are effective. In these ways, the (...) article contributes to scholarship on how people become persuaded to take on new identities and provides insight into the resistance and failures groups encounter when attempting to interpellate others. I conclude with a discussion of how a theory of interpellative styles can be applied more broadly and used to investigate the overlap between cultural, physiological, and psychological processes in identity formation and alteration. (shrink)

Climate change is confronting African farmers with growing uncertainties. Advances in seasonal climate predictions offer potential for assisting farmers in dealing with climate risk. Experimental cases of forecast dissemination to African rural communities suggest that participatory approaches can facilitate understanding and use of uncertain climate information. But few of these studies integrate critical reflections on participation that have emerged in the last decade which reveal how participatory approaches can miss social dynamics of power at the community level and in the (...) broader context. Furthermore, neither climate application research nor theoretical critiques of participation fully examine the culturally constructed nature of participation. Drawing on sociolinguistic analysis, in-depth interviews, and ethnographic observation, this paper examines how Ugandan farmers engage in participation in the context of discussions of seasonal climate forecasts. Forecasts were presented to farmers groups whose members were then asked to discuss the forecast among themselves. In doing so, groups sought to develop a common understanding of the forecast and consensual plans for response strategies. Focusing on one particular group meeting as an example, we show how different cultural styles of participation affect the interpretation of the forecast and the formulation of response strategies. Group interaction is shown to be mostly structured around two styles of participation. On the one hand, there is the “Western” style advocated by NGOs and the government, which centers on ensuring that all individuals who are present have opportunities to speak during discussion and to vote on group decisions. On the other hand, a “Kiganda” style of participation emphasizes the importance of affirming ties to a collectivity, respect for social hierarchy, deployment of good manners, and consensus building. The case study illuminates how the performance of different styles of participation is grounded in localized frameworks of language and culture but also draw on political and policy discourses at the national level. Although a cultural high value on consensus may work in favor of prominent members, the availability of multiple styles of participation also enables group members to exercise their agency in positive ways. Attention to the interplay of different styles of participation throws light on the subtle social processes that shape how knowledge is assessed, which sources are trusted, which and whose interpretations prevail, what options are deemed viable, how costs and benefits are calculated, and whose resources are mobilized in the effort to reduce vulnerability to climate risk. These are key questions for an assessment of the role of boundary organizations, such as farmer associations, in the communication and application of climate forecasts in agriculture. (shrink)

In his “Frankfurt-style cases user manual”, Florian Cova (2013) distinguishes two kinds of Frankfurt-style arguments against the principle of alternative possibilities (PAP), and argues that my attack on the soundness of Frankfurt-style cases succeeds, at most, only against one kind. Since either kind of argument can be used to undermine PAP, Cova suggests, the fact that my attack fails against at least one means that it does not succeed in rescuing PAP from the clutches of Frankfurt enthusiasts. (...) In this brief response I will argue that my attack undermines both kinds of Frankfurt-style arguments. It shows that we are not entitled to rely on the intuitions that these arguments provoke, whether they are produced by the direct version of the Frankfurt-style argument or the indirect.In a typical Frankfurt-style case (FSC), an agent performs a bad action for which, intuitively, they seem to be morally responsible, despite the fact that they lack alternative possibilities (see Frankfurt 196. (shrink)

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

The claim that moral responsibility requires relevant alternative possibilities is encapsulated by the following principle: PAP: A person is morally responsible for what he has done only if he could have done otherwise. In 1969 Harry Frankfurt devised what purported to be a counterexample to PAP: Suppose someone, Black, let us say, wants Jones to perform a certain action. Black is prepared to go to considerable lengths to get his way, but he prefers to avoid showing his hand unnecessarily. So (...) he waits until Jones is about to make up his mind what to do, and he does nothing unless it is clear to him that Jones is going to decide to do something other than what he, Black, wants him to do. If it does become clear that Jones is going to decide to do something else, Black takes effective steps to ensure that Jones decides to do, and that he does do, what he, Black, wants him to do. Whatever Jones's initial preferences and inclinations, then, Black will have his way. . . . Now suppose that Black never has to show his hand because Jones, for reasons of his own, decides to perform and does perform the very action Black wants him to perform. In that case, it seems clear, Jones will bear precisely the same moral responsibility for what he does as he would have borne if Black had not been ready to take steps to ensure that he do it. (shrink)

Dans notre article, nous nous proposons d’étudier la désignation de la pensée du commencement-initial par Heidegger comme “le style de I’etre-homme à venir’ dans ses Contributions à la Philosophie (1936-1938). Nous traitons le rapport du “style” à l’historialité de la pensée et en particulier à la tonalité affective fondamentale de la retenue. Par la suite, nous soulevons la question du style dans l’art en retraçant l’origine du “style de la pensée initiale” dans la critique heideggérienne de (...) l’esthétique et de safondation métaphysique. Plutôt que témoigner de l’esthetisation de sa pensée, ce thème met en lumiere son projet de “destruction” de I’esthétique telle qu’elle a lieu dans le premier cours sur Nietzsche. Nous soutenons que l’analyse du grand style nietzschéen tel qu’il a lieu dans ce cours sert de filconducteurpour sa qualification de I’autre commencement de la philosophie de “style de pensée”. Par ailleurs, la réflexion des deux penseurs sur le motif du style témoigne de leur intérêt commun à la catégorie esthétique du sublime. Les Contributions à la Philosophie poursuivent ce motif à ses conséquences ontologiques ultimes.This paper focuses on Heidegger’s designation of inceptive thought (anfängliches Denken) as the “style of the being-human that is to come” in his Contributions to Philosophy (1936-38). Its relation to historicity and the ground attunement of retention (Verhaltenheit) will be discussed. The question of style in art will then be raised by tracing back the “style” of inceptive thinking to Heidegger’s critique of Western aesthetics and its metaphysical foundation. Rather than witnessing the “aesthetisation” of the thought performing the “leap” beyond metaphysics, this motive brings forth his project of “destruction” of aesthetics as it takes place in the first lecture course on Nietzsche. This article claims that the analysis of Nietzsche’s grand style (grosse Stil) in this very course serves as the leading thread in his repeatedallusions to the “other inception” in philosophy in terms of a “style of thought”. Moreover, the reflexion on the style in both thinkers reveals an interest in the aesthetic category of the sublime. Heidegger’s Contributions to Philosophy leads this motive to its ultimate ontological consequences. (shrink)

Dans notre article, nous nous proposons d’étudier la désignation de la pensée du commencement-initial par Heidegger comme “le style de I’etre-homme à venir’ dans ses Contributions à la Philosophie (1936-1938). Nous traitons le rapport du “style” à l’historialité de la pensée et en particulier à la tonalité affective fondamentale de la retenue. Par la suite, nous soulevons la question du style dans l’art en retraçant l’origine du “style de la pensée initiale” dans la critique heideggérienne de (...) l’esthétique et de safondation métaphysique. Plutôt que témoigner de l’esthetisation de sa pensée, ce thème met en lumiere son projet de “destruction” de I’esthétique telle qu’elle a lieu dans le premier cours sur Nietzsche. Nous soutenons que l’analyse du grand style nietzschéen tel qu’il a lieu dans ce cours sert de filconducteurpour sa qualification de I’autre commencement de la philosophie de “style de pensée”. Par ailleurs, la réflexion des deux penseurs sur le motif du style témoigne de leur intérêt commun à la catégorie esthétique du sublime. Les Contributions à la Philosophie poursuivent ce motif à ses conséquences ontologiques ultimes.This paper focuses on Heidegger’s designation of inceptive thought (anfängliches Denken) as the “style of the being-human that is to come” in his Contributions to Philosophy (1936-38). Its relation to historicity and the ground attunement of retention (Verhaltenheit) will be discussed. The question of style in art will then be raised by tracing back the “style” of inceptive thinking to Heidegger’s critique of Western aesthetics and its metaphysical foundation. Rather than witnessing the “aesthetisation” of the thought performing the “leap” beyond metaphysics, this motive brings forth his project of “destruction” of aesthetics as it takes place in the first lecture course on Nietzsche. This article claims that the analysis of Nietzsche’s grand style (grosse Stil) in this very course serves as the leading thread in his repeatedallusions to the “other inception” in philosophy in terms of a “style of thought”. Moreover, the reflexion on the style in both thinkers reveals an interest in the aesthetic category of the sublime. Heidegger’s Contributions to Philosophy leads this motive to its ultimate ontological consequences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Style In DickensRobert AlterIt is a sad symptom of the devolution of literary studies and of our culture’s relation to language that it should at all be necessary to explain that style is crucial to the experience of reading. As the language of literature has been variously designated a mask for ideology, an expression of the “poetics of culture,” or a medium of communication not different (...) in kind from menus and graffiti, the academic study of literature in many cases seems to have lost the essential sense that style has its unique enchantments, and that those enchantments can often be a privileged vehicle of insight, even of vision. As someone who is temperamentally a rationalist, I do not want to sound mystical, but I find it an empirical fact as a reader that great writers are able in a variety of surprising ways to tap into occult connections between words and social, historical, psychological, or moral realities. Saul Bellow has aptly stated this commingling of uncanny insight and deep satisfaction that style can give its readers:A small clue will suffice to remind us that when we hear certain words—“all is but toys,” “absent thee from felicity,” “a wilderness of monkeys,” “green pastures,” “still waters,” or even the single word “relume”—they revive for us moments of emotional completeness and overflowing comprehension, they unearth buried essences. 1A novel is a whole world reconstituted through words. Style in a novel is that world’s very air which we breath (I shall presently cite a rather literal illustration of this principle in Dickens), the rhythm of relation [End Page 130] of the represented objects and personages, the depth of field in which they are seen. When we read style in Dickens, or in any other novelist, we of course are reading all sorts of other things at the same time—plot, character, moral dilemma, historical predicament, and so forth—but we can see all these in their full complexity only if we attend to the illuminating play of style.Despite the great length of his major novels, Dickens deserves to be read slowly, with delectation, with occasional pauses to reread a choice passage, because he is one of the most inventive and vigorous stylists in the whole range of English literature. Style, as we know, has many facets, and Dickens’s powerful rhythms, his supple patterns of alliteration, the hammer-blows of the anaphoric insistence he often favors, the cunning interplay of different linguistic registers he sometimes introduces, are all worthy of attention. But he is above all the great master of figurative language in English after Shakespeare, and what I want to concentrate on here is how I focus as a reader on Dickens’s use of figurative language, and what it reveals to me about the world of his novels.Dickens is one of those novelists who is preeminently a rhetorical performer, and so there is a good deal of self-conscious display of virtuosity, sheer exuberant verbal high jinks, in his writing. The high jinks are there for the reader to enjoy—in historical context, to keep the reader’s interest from one monthly serial to the next—but as Dickens grows in mastery and gravity, they are more and more a means of what Bellow calls unearthing buried essences. Let me glance quickly at the operation of style in a passage from Dombey and Son (1848), an approximate midpoint in Dickens career, and then consider more closely the visionary power of his prose at two moments in his last completed novel, Our Mutual Friend (1861). Here is the description in chapter thirteen of the company office of Dombey and Son as its august proprietor enters:The wit of the Counting-House became in a moment as mute as the row of leathern fire-buckets hanging up behind him. Such vapid and flat daylight as filtered through the ground-glass windows and skylights, leaving a black sediment upon the panes, showed the books and papers, and the figures bending over them, enveloped in a studious gloom, and as much abstracted in appearance, from the world without, as if they were assembled at the... (shrink)

Males are often found to outperform females in tests of mathematics achievement and it has been proposed that this may in part be explained by differences in cognitive style. This study investigated the relation between Wholistic-Analytic and Verbal-Imagery cognitive style, gender and mathematics achievement in a sample of 190 Australian primary school students aged between 8?11?years (M?=?9.77, SD?=?1.05). It was hypothesised that males would outperform females in mathematics achievement tests, and that gender would interact with cognitive style (...) on mathematics performance. A significant gender/cognitive style interaction was found. Boys with an Analytic/Imagery style achieved significantly higher results than the girls with an Analytic/Imagery style, supporting the contention that certain cognitive styles affect boys and girls mathematics performance differently. Implications of results and strategies for improving mathematics achievement among girls are discussed. (shrink)

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these (...) things are aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)