Attentional control has grown in importance within theoretical and predictive models of psychopathology over past decades. The Attentional Style Questionnaire is a novel measure of internal a...

At first glance there seem to be many similarities between Thomas S. Kuhn’s and Ludwik Fleck’s accounts of the development of scientific knowledge. Notably, both pay attention to the role played by the scientific community in the development of scientific knowledge. But putting first impressions aside, one can criticise some philosophers for being too hasty in their attempt to find supposed similarities in the works of the two men. Having acknowledged that Fleck anticipated some of Kuhn’s later theses, there (...) seems to be a temptation in more recent research to equate both theories in important respects. Because of this approach, one has to deal with the problem of comparing the most notable technical terms of both philosophers, namely ‘‘thought style’’ and ‘‘paradigm’’. This paper aims at a more thorough comparison between Ludwik Fleck’s concept of thought style and Thomas Kuhn’s concept of paradigm. Although some philosophers suggest that these two concepts are essentially equal in content, a closer examination reveals that this is not the case. This thesis of inequality will be defended in detail, also taking into account some of the alleged similarities which may be responsible for losing sight of the differences between these theories. (shrink)

The question as to whether Ian Hacking’s project of scientific styles of thinking entails epistemic relativism has received considerable attention. However, scholars have never discussed it vis-à-vis Wittgenstein. This is unfortunate: not only is Wittgenstein the philosopher who, together with Foucault, has influenced Hacking the most, but he has also faced the same accusation of ‘relativism’. I shall explore the conceptual similarities and differences between Hacking’s notion of style of thinking and Wittgenstein’s conception of form of life. It (...) is a fact that whether or not the latter entails epistemic relativism is still a controversial question. From my comparative analysis, it will emerge that there are stronger reasons to conclude that Hacking’s notion of style leads to epistemic relativism than there are to reach the same conclusion in the case of Wittgenstein’s conception of form of life. This point will be at odds with the anti-relativistic stance that Hacking has taken in his more recent writings. (shrink)

Dissociative style is mostly studied as a risk factor for dissociative pathology, but it may also reflect a fundamental characteristic of healthy information processing. Due to the close link between attention and working memory and the previous finding of enhanced attentional abilities with a high dissociative style, a positive relationship was also expected between dissociative style and verbal working memory span. In a sample of 119 psychology students, it was found that the verbal span of the high-dissociative group was (...) about half a word larger than of the medium and low-dissociative groups. It is suggested that dissociative style may be one of only very few individual differences that is directly relevant to consciousness research. (shrink)

Until now, philosophical debate about human embryonic stem cell (hESC) research has largely been limited to its ethical dimensions and implications. Although the importance and urgency of these ethical debates should not be underestimated, the almost undivided attention that mainstream and feminist philosophers have paid to the ethical dimensions of hESC research suggests that the only philosophically interesting questions and concerns about it are by and large ethical in nature. My argument goes some distance to challenge the assumption that (...) ethical considerations alone must be foregrounded in philosophical discussions about hESC research by introducing a critical stance on the epistemological and ontological assumptions that underlie and condition it. A central aim of the paper is to show how Foucault's insights into knowledge-power, taken in combination with Hacking's claims about styles of reasoning, can make these assumptions evident, as well as cast light on their potentially deleterious implications for disabled people. Arguing in this way also enables me to draw out constitutive effects of research on stem cells, that is, to indicate how the discursive practices surrounding research on stem cells, as well as the technology itself, contribute to the constitution of impairment. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self (...) and others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

This article explores the key role of “experiential style” (Erfahrungsstil) in Husserl’s account of social habituality. It demonstrates the developmental bridge this concept throws between the distinct intentionalities of empathy and communalization. The importance of Erfahrungsstil in Husserl has largely escaped scholarly attention. I claim, however, that in his later work, it becomes an inherent component to the relational dynamics of intermonadic temporalization, the process which underpins the generative constitution of sociality and opens a possibility for a transcendental phenomenological (...) anthropology, a project Husserl only sketched out but never ventured on. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self (...) and others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

I argue that Irigaray's linguistic research is not merely supplementary to her theoretical writing, but, in its depiction of sexed linguistic “styles,” illuminates Irigaray's call for a new syntax. I show the effect of this research on her analysis of the unconscious meaning of interrogative expressions. 1 address the question of Irigaray's standing as a social scientist and argue that attention to her method reveals her positive program in this domain.

: I argue that Irigaray's linguistic research is not merely supplementary to her theoretical writing, but, in its depiction of sexed linguistic "styles," illuminates Irigaray's call for a new syntax. I show the effect of this research on her analysis of the unconscious meaning of interrogative expressions. I address the question of Irigaray's standing as a social scientist and argue that attention to her method reveals her positive program in this domain.

This chapter contains sections titled: Literature and the Moral Life David Lurie Moses Herzog The Category of Orientation.

This paper explores how individuals experiencing hostile affective states such as envy, jealousy, hate, contempt, and Ressentiment tend to deceive themselves about their own mental states. More precisely, it examines how the feeling of being diminished in worth experienced by the subject of these hostile affective states motivates a series of self-deceptive maneuvers that generate a fictitious upliftment of the subject’s sense of self. After introducing the topic (section 1), the paper explores the main arguments that explain why several hostile (...) affective states involve a feeling of diminution in the subject’s own value (section 2). Next, it offers an analysis of how the negative feeling of self-worth motivates self-deception. While in extrinsically motivated self-deception, the subject feels diminished in worth after negatively evaluating her own hostile affective states, in intrinsically motivated self-deception, the negative feelings of self-worth are constituent elements of the hostile affective state in question (section 3). Cases of intrinsically motivated self-deception are particularly intriguing because in them the motivation for self-deception is inherent to the hostile affective state, independently of external reasons. I coin the expression “self-deceptive style” to capture the distinctive form in which each hostile affective state intrinsically motivates changes in the architecture of the mind (e.g., perception, imagining, memory, judgment, attention, etc.) in order to generate an upliftment of the self (section 4). To show the descriptive and explanatory function of this concept, a comparative analysis of the self-deceptive styles of envy and hate is provided (section 5). The conclusion summarizes the main findings and explores directions for further research (section 6). (shrink)

In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that a (...) closer look at the Phenomenology and several other texts from this period reveals that, on Merleau-Ponty’s account, we are able to perceive the absent features of objects as present, constant properties, and constant objects because we recognize that the objects we perceive have a unique style that persists through and unifies all their appearances. (shrink)

Quel lien y a-t-il entre le style, qui exprime un rapport au monde, et la théologie qui engage un rapport à Dieu ? Ce lien a été très fort dans le passé. À travers Augustin et le Pseudo-Denys, la pensée néoplatonicienne transmet au Moyen Âge le thème de la lumière intelligible. L’univers médiéval s’appréhende comme un cosmos transfiguré par la lumière de Dieu qui s’irradie sur toutes choses. Les Sommes théologiques baignent dans ce même symbolisme lumineux. Cependant, la pensée scolastique, (...) sous l’influence de l’aristotélisme, prend une orientation divergente : le réalisme tend à séculariser la nature ; la clarté ne vient plus d'en haut, mais d'en bas, de l’objet : l’esthétique se détache du discours théologique, l'allégorie se libère du symbole en direction de l'imaginaire. Quel sens reconnaître à un tel cheminement marqué au sceau de notre modernité ? Un champ esthétique, devenu ainsi autonome, ne risque-t-il pas de se retrouver exclusivement voué aux jeux formels d’une fiction pure sur fond de néant de sens ? Non, car l'imaginaire exerce une « fonction métaphorique » et « ontologique » , qui ouvre vers un supplément de sens. Le style est une structure individualisante qui rend sensible, dans l’art, le jaillissement d'une vérité du monde qui se répète dans les diverses productions esthétiques d'une même aire culturelle. Un style peut donc être un « lieu théologique » porteur d'un certain rapport au sacré, au même titre que « trace séculière » de formes spirituelles les plus diverses. D’où l’éminente leçon de « L'art sacré » contemporain, attentif aux affinités, techniques et défis de la modernité et, partant, promis aux rencontres œcuméniques les plus enrichissantes.What connection is there between style that expresses a relationship with the world, and theology that engages a relationship with God ? This connection was very strong in the past. From Augustine and the Pseudo-Dionysius, Neoplatonic thought transmitted to the Middle Ages the theme of intelligible light. The medieval universe is understood as a cosmos transfigured by God’s light irradiating all things. Theological Summas bathe in the same luminous symbolism. Under Aristotelian influence, Scholastic thought, however, takes a divergent orientation : realism tends to secularize nature ; clarity does net come from on high, but below, from the object ; the aesthetic detaches itself from the theological discourse, allegory frees itself from the symbol in the direction of the imaginary. What meaning can be seen in such a path that is marked with the seal of our modernity ? Does not the aesthetic field, that has become autonomous, take the risk of finding itself exclusively dedicated to formal games of pure fiction on a background of meaninglessness ? No, for the imaginary exercises a « metaphorical » and « ontological » function that opens towards an increase of meaning. The style is a individualizing structure that renders sensitive, in art, the breaking out of a truth of the world that repeats itself in the diverse aesthetic productions of a same cultural space. A style can, therefore, be a « theological site » carrying a certain rapport to the sacred, and at the same time that « secular pathway » of the most diverse spiritual forms. From there comes the eminent lesson of contemporary « Sacred Art », attentive to the affinities, techniques, and challenges of modernity, and consequently, engaged to most enriching ecumenical encounters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any lover of (...) English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

Occupy Wall Street, Indignés, Nuit Debout - plus que jamais la question est posée de définir la vie que nous souhaitons choisir et vivre. Une vie vécue est inséparable de ses formes, de ses modalités, de ses régimes, de ses gestes, de ses façons, de ses allures... qui sont déjà des idées. Le monde, tel que nous le partageons et lui donnons sens, ne se découpe pas seulement en individus, en classes ou en groupes, mais aussi en "styles", qui (...) sont autant de phrasés du vivre, animé de formes attirantes ou repoussantes, habitables ou inhabitables, c'est-à-dire de formes qualifiées : des formes qui comptent, investies de valeurs et de raisons d'y tenir, de s'y tenir, et aussi bien de les combattre. C'est sur ce plan des formes de la vie que se formulent aujourd'hui beaucoup de nos attentes, de nos revendications, et surtout de nos jugements. C'est toujours d'elles que l'on débat, et avec elles ce sont des idées complètes du vivre que l'on défend ou que l'on accuse. Une forme de vie ne s'éprouve que sous l'espèce de l'engagement, là où toute existence, personnelle ou collective, risque son idée. Vouloir défendre sa forme de vie, sans tapage, en la vivant, mais aussi savoir en douter et en exiger de tout autres, voilà à quoi l'histoire la plus contemporaine redonne de la gravité. Bien au-delà du champ de l'art, Marielle Macé propose la construction critique d'une véritable stylistique de l'existence. Cela suppose de s'intéresser sans préjugé à tout ce qu'engagent les variations formelles de la vie sur elle-même - styles, manières, façons - et de ne pas traiter forcément de vies éclatantes, triomphantes, d'apparences prisées ou de corps élégants. Ce n'est pas seulement la littérature mais bien toutes les sciences humaines qui, pour comprendre le monde immédiat, sous nos yeux, doivent s'y rendre vraiment attentives. (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)

Martha Nussbaum is one among a number of contemporary American philosophers to suggest the writing of philosophy as central to its achievement. Nussbaum urges that philosophical writing is not neutral, that form and style centrally influence content. Like Richard Rorty, Nussbaum sees no sharp distinction between literary criticism and philosophy. Like Stanley Cavell, she finds in literature an edifying response to philosophical anxiety. Taking her pronouncements on philosophical style as its primary point of departure, this paper interrogates Nussbaum’s own standing (...) as “philosophical stylist.” This description is meant to signal both the centrality of language and writing to her conceptions of philosophy and her own writing as exhibiting flair and elegance as well as an irreducibility to paraphrase. With particular attention to Nussbaum’s Love’s Knowledge , I will argue that it is in the philosopher’s formal pronouncements or principles, rather than in her philosophical practice, that foregrounding of style is most apparent. In development of this argument, Cavell will emerge as a key figure of comparison. (shrink)

While research on Attention Deficit Hyperactivity Disorder (ADHD) has traditionally focused on cognitive and behavioral deficits, there is increasing interest in exploring possible resources associated with the disorder. In this paper, we argue that the attention-patterns associated with ADHD can be understood as expressing an alternative style of inquiry, or “zetetic” style, characterized mainly by a lower barrier for becoming curious and engaging in inquiry, and a weaker disposition to regulate curiosity in response to the cognitive and practical (...) costs associated with inquiry. Exploring this zetetic style from an epistemological perspective, we show that it is often epistemically rational and can be advantageous in important respects. We close by suggesting that the very aspects of the zetetic style that might at times render it disadvantageous from the point of view of individual subjects with ADHD, will often confer epistemic benefits to the social group that the subjects are part of. (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: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)

Very little attention has been given to understanding the commitment to service quality and desirable outcomes in the hotel industry. This study investigates the impact of directive and participative leadership on the frontline commitment to service quality through the mediation of knowledge sharing. This will eventually help us to generate the employees' commitment to service quality desirable behavior. The survey was distributed to 37 hotels. A total of 235 frontline employees participated in the survey. The study findings show that (...) directive leadership has a negative relationship with CSQ. On the other hand, participative leadership positively influences CSQ. Notably, knowledge sharing mediates between directive leadership, participative leadership, and commitment to service quality. There were positive linkages between commitment to service quality and desirable outcomes, job performance, and organizational citizenship behavior and negative relation to turnover intention. (shrink)

As China enters the twenty-first century and we look back at the slogans China raised during the May Fourth New Culture Movement at the beginning of the twentieth century, we find that whether "science" and "democracy," or liberalism, or the emancipation of the personality, or human rights and humanitarianism—all remain as foci of attention today. The May Fourth movement as a movement for enlightenment may be seen as an ideological preparation for China's advance toward modernization, and the first step (...) required in practice was political change. Whether revolution or reform, the objective was always to bring about constitutional democracy. Despite close to forty years of detours, we have finally admitted that the market economy is a stage of development that cannot be skipped. But we still do not admit that constitutional democracy is similarly a stage that cannot be skipped. And so, as China steps into the new millennium, it is still limping along and must make up for this missed lesson. (shrink)

Disquiet about the research ethics review process has, historically, been anecdotal and often takes the form of ‘atrocity stories’ from researchers about the bureaucratic nature of the application process or inconsistency and capriciousness in decision-making. However, systematic evidence has often been lacking. We analysed 100 decision letters written by NHS research ethics committees. We found evidence of poor communication in the way in which REC decisions were conveyed to applicants. Typos and grammatical mistakes were found in almost 30% of letters; (...) sometimes wording was impolite and demonstrated a lack of respect towards applicants; and there was often lack of clarity about the nature of a revision and whether the revision was compulsory or optional. The analysis provides messages for RECs about how they can improve their practices to establish a more cooperative relationship between researcher and committee through the careful use of language and attention to detail in decision letters. (shrink)

The article argues for a parallelism between the interpretation of deontic modals and the interpretation of counterfactuals. The main claim is that dependencies between facts play a role in the resolution of both types of modality: in both cases, facts ‘stand and fall’ together. The article provides two types of evidence supporting this claim: (i) evidence that comes from the interaction between primary and secondary duties (as presented in contrary-to-duty imperatives) and (ii) evidence that comes from the possibility of reproducing (...) well-known counterfactual puzzles in the domain of deontic statements. The article argues that the semantics of deontic modals needs to be stated in a way that pays attention to dependencies between facts and illustrates this with a proposal building on work on counterfactuals by Kratzer and Veltman. (shrink)

Several visual and emotional processes reflect similar underlying patterns of cortical activation. Characteristic individual perceptual style was measured by lateral attentional errors in a standard visual line-bisecting task. The direction of error indicates a predominance of activation in the contralateral prefrontal cortex. Individual differences in mood were measured by the self-endorsement of emotional adjectives. A total of 27 right-handed adults responded to the trait version of the Positive and Negative Affect Schedule (PANAS). As predicted, rightward errors in visual line bisecting (...) correlated positively and significantly with the Positive Affect subscale. The scale adjectives determined and strong had significant correlations with the visual bisecting measure. The negative affect subscale was correlated with neither the line bisecting measure nor the positive subscale. An extension from trait to state measures tested the self-description of current affect using related synonyms and antonyms in a subset of 22 of the participants. Active, dominant, mighty, powerful, and strong were significantly associated with rightward bisecting errors, whereas passive and cooperative were correlated with errors in the opposite direction. The results were incompatible with the valence model (positive-negative), direction model (approach-withdrawal), and movement model (approach-resistance) of the lateral prefrontal substrate of emotion. The action tendency model (active approach-passive yielding) was supported. (shrink)

Arthur Danto was an original thinker, and like all creative readers of the history of philosophy he invariably heard in those who caught his attention echoes, faint or raucous, of his own thoughts. Danto rejects the transparency theory as inadequate to how we talk about art and to artistic practice. For Danto, an artwork is not a mere representation, with a particular kind of content. Echoing a familiar theme from traditional aesthetic theory, Danto reminds us that “it is crucial (...) to distinguish the form of a representation from the content of the representation”. Sartre and Danto agree that artistic style and expression differ essentially from mundane character and meaning. By his own admission, Sartre's favored argumentative technique was to invest heavily in sharp categorical distinctions where common sense and philosophical refinement are inclined to see complexity and ambiguity. (shrink)

Erin Plunkett draws from both analytic and continental sources to argue for the philosophical relevance of style, making the case that the essay form is uniquely suited to address the sceptical problem. The authors examined here-Montaigne, Hume, the early German Romantics, Kierkegaard and Stanley Cavell-bring into relief the relationship between scepticism and ordinary life and situate the will to know within a broader frame of meaningful human activity. The formal features of the essay call attention to time, subjectivity, and (...) language as the existential conditions of knowledge. -/- In contrast to foundationalist approaches, which expect philosophy to reach empirical or rational certainty, Plunkett demonstrates through these writings the philosophical advantages of a fragmentary, non-dogmatic style of writing. A Philosophy of the Essay shows how this medium can help us come to terms with the contingency and uncertainty of life. (shrink)

The core claim of this paper is that mind minding of the sort required for the simplest and most pervasive forms of joint attentional activity is best understood and explained in non-representational, enactivist terms. In what follows I will attempt to convince the reader of its truth in three steps. The first step, section two, clarifies the target explanandum. The second step, section three, is wholly descriptive. It highlights the core features of a Radically Enactivist proposal about elementary mind minding, (...) revealing it to be at least a possible explanans. The final step is to consider the comparative virtues of the contending proposals; section four. The exercise is to decide which of the possible explanations is best. Various evidential appeals and theoretical considerations that might aid us in this choice are reviewed. The conclusion is that the scales would be tipped in favour of the Radical Enactivist option, decisively, if it should turn out that there is (1) no reason to believe that basic forms of mentality are representational (in a semantically contentful way) and (2) if no good theory is likely to explain how they could be so. It is concluded that all that we need for understanding basic forms of intentional (with a ‘t’) mentality and what it takes to attend to basic cases of mind minding. (shrink)

Autistic difficulties with social interaction have primarily been understood as expressions of underlying impairment of the ability to ‘mindread.’ Although this understanding of autism and social interaction has raised controversy in the phenomenological community for decades, the phenomenological criticism remains largely on a philosophical level. This article helps fill this gap by discussing how phenomenology can contribute to empirical methodologies for studying social interaction in autism. By drawing on the phenomenology of Maurice Merleau-Ponty and qualitative data from an ongoing study (...) on social interaction in autism, I discuss how qualitative interviews and participant observation can yield phenomenologically salient data on social interaction. Both, I argue, enjoy their phenomenological promise through facilitating attention to the social-spatial-material fields in and through which social interactions and experiences arise. By developing phenomenologically sound approaches to studying social interaction, this article helps resolve the deficiency of knowledge concerning experiential dimensions of social interaction in autism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Men Becoming Gods in "Style"Gioia and Girard on Divinized DesireJoshua Hren (bio)In our secular age we hear seekers of the sacred and religious devotees alike decry the soul-deadening, spirit-dumbing consequences of materialism. René Girard contends that—on the contrary—in the "leveled," horizontal world of a purportedly materialistic modernity this transcendent authority is deviated and distorted but it does not disappear. In his first major work, Deceit, Desire, and the Novel, (...) he argues that "the passion that drives men to seize or gain more possessions is not materialistic; it is the triumph of the mediator, the god with the human face."1 In a materialistic age, the gods are "pulled down from the heaven, the sacred flows over the earth" and men become "gods for each other."2Dana Gioia, former businessman and chairman of the National Endowment for the Arts, is no stranger to the economy of divinized desire. The stakes of our passions—whether we are wrecked by dubious wants or able to shed our infernal imitations—pierce his poetry. Gioia cites Girard as a significant influence alongside St. Augustine and Kierkegaard, though he does not indicate whether his own poetic investigations of mimesis are a direct yield of [End Page 149] his encounter with Girard or the independent discovery of attentive artistic intuition.3The refuge of lies so central to Girard is particularly palpable in Gioia's long narrative poem "Style."4 Charlie, the self-deprecating narrator, divinizes his college friend Tom, a business mogul who "prospered like one chosen by the gods."5 Tom uses his easy money to purchase gaudy metamorphoses, hosting magnificent events with his "flawless" wife Eden. An antihero of the unremarkable variety, Charlie attends all Tom's parties until he stops receiving invitations. When he discovers his deity's disappearance is tied to a terminal illness, he descends into the infernal "slums" of Tom's new hideout, and he finds his former hero hell-bent, ready to commit an arson that will erase his own existence in style. Charlie is confronted with a difficult decision that any coward would waver before. He has the chance to become an atheist—at least with respect to his dying god. After painting a portrait of man-made gods, the poem probes the question of whether and how we can cut short our penchant for great deceits.Charlie opens this narrative poem with an invective directed against himself.Just look at me. Isn't it obvious?I have no style. I'm just a human blur.On me expensive clothes look second-hand.They droop or sag. The color's never right.I wear the wrong apparel to the party.I pick the dullest item on the menu.Each haircut brings some new humiliation.6Crucially, we never receive an audit of this dour self-consciousness. By poem's end, no one has corrected or confirmed Charlie's condemnations. He may be right; his might be the antinomy of Midas's modus operandi. His hyperbolic portrait of Tom's greatness suggests that he is less than just to himself. His preoccupation with something as small as a menu item betrays a brutal obsessiveness. He employs the ascetical word "humiliation" in conjunction with a "haircut"—further revealing his unforgiving inner harshness. Charlie "always loved to visit Tom" precisely because he himself is Pathetic, Inc.7Were René Girard Charlie's older brother, he might sit the sad sap down on a comfortable couch and spell out the difficult truth as follows: The anti-hero "dreams of absorbing and assimilating his mediator's being."8 This highfalutin description of "the Other implies an insuperable revulsion for one's own substance."9 We ought not to take seriously the excuses these types give for their [End Page 150] failings and their fawning, for they "hate themselves on a more essential level than that of 'qualities.'"10 When Charlie disparages his badly cut bangs or his mismatched outfits, he's really incriminating his very being."The desire," Girard argues, "is aimed at the mediator's being."11 Charlie evinces this dynamic when he insists that Tom's "success was existential: / It wasn't what... (shrink)

Full-length and short independent feature films directed by Martin Scorsese are considered as the research material. The object of the study is the main elements of Martin Scorsese's directorial style. Throughout his creative career, the director under study, without fear, operates with numerous artistic techniques that today form the directorial style – broadcasting Christian motifs, cruelty combined with the beauty of the criminal world, eyes as an element of the hero's soul, using a mirror in the context of reflecting the (...) other world of the character, narration through dreams and fantasies, as well as an abundance of editing solutions. The main attention is paid to the cast in the director's filmography, which correlates with the subject of this study. In this article, the author analyzed 33 films of the director that fall under the conditions of the study. The theoretical and methodological basis of the research was the works of domestic and foreign theorists and practitioners of cinematography, as well as film encyclopedias and film textbooks of the academic level. According to the results of the study, the author came to the conclusion that the director is committed to a permanent cast in his films. More than others, Martin Scorsese stars such actors as Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio. The director puts himself at the top of this list. 430 actors took part in all the films studied, who appear in the director's filmography at least twice. In the films The Irishman (2019), The Wolf of Wall Street (2013), Goodfellas (1990), and Casino (1995) starred the largest number of recurring actors in the director's work. Also, in the course of our research, we found that the director in most of his films prefers to shoot not only himself, but also members of his family. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

The paper begins with a detailed reconstruction of the development of Ian Hacking’s theory of scientific ‘styles of reasoning’, paying particular attention to Alistair Crombie’s influence, and suggesting that Hacking’s theory deserves to come under the title ‘historical epistemology’. Subsequently, the paper seeks to establish three critical theses. First, Hacking’s reliance on Crombie leads him to adopt an outdated historiographical position; second, Hacking is unsuccessful in his attempt to distance historical epistemology from epistemic relativism; and third, Hacking has (...) not offered convincing criteria for individuating styles of reasoning. Keywords: Styles of reasoning; Historical epistemology; Ian Hacking; Alistair Crombie; Relativism; Sociology of scientific knowledge. (shrink)

I argue that using information from a cognitive representation to guide the performance of a primary task is sufficient for intellectual attention, and that this account of attention is endorsed by scientists working in the refreshing, n-back, and retro-cue paradigms. I build on the work of Wayne Wu, who developed a similarly motivated account, but for perceptual attention rather than intellectual attention. The way that I build on Wu’s account provides a principled way of responding to (...) Watzl’s challenge to Wu, according to which Wu’s style of account is unintuitively broad. The fact that I find unity in the practice of science puts us in a position to resist the claim that scientists studying intellectual attention are frequently failing to study the same thing. (shrink)

With increasing momentum for health care reform, attention is shifting to finance reform that will provide for direct methods for controlling health care spending. This article outlines the two principal paths to direct cost control and outlines a national plan that retains our multiple sources of payment, yet also contains a powerful direct cost control technique: a single fund to finance all health care.

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)

La pensée du cliché est indissociable d’un geste critique, qui en fait l’envers de l’originalité : ressassés, usés, signes de paresse intellectuelle, les clichés désignent dans la langue la puissance du commun. Au-delà d’une condamnation expéditive, qui génère elle-même ses propres clichés (des clichés il faut toujours se défaire), nous proposons ici d’analyser en détail les raisons de la critique, en prêtant une attention particulière aux apports de deux théoriciens du style, Antoine Albalat et Rémy de Gourmont. Ces deux (...) auteurs ont participé à la condamnation du cliché de manière constructive, fournissant listes, éclairages linguistiques, mais aussi une « philosophie du cliché » (R. de Gourmont) qui met en regard les automatismes de la mémoire et la qualité particulière des images portées par les clichés. La confrontation de leurs analyses permet de renouveler la problématique du cliché et de penser l’efficacité et l’évolution particulière de ces images, que l’on présente d’ordinaire comme figées. (shrink)

Language is highly dynamic: It unfolds over time, and we can use it to achieve a wide variety of communicative goals, from telling a story to trying to persuade another person. One aspect of language that has gained increasing popularity among researchers in the last several decades is the individual language style (LS) represented by an individual’s use of function words (e.g., pronouns, articles). Previous approaches to LS mostly focus on LS of one individual in isolation, paying less attention (...) to the fact that language emerges from interaction with others. The aim of this paper is twofold: First, we integrate LS into a dynamical theoretical framework and present an innovative methodological approach. Second, this paper aims to address how interactive conversation—as an aspect of the communicative setting—changes an individual’s LS. We use recurrence quantification analysis to look at structure in patterns of LS in monologs and conversations of 118 participants. Our results showed that LS significantly differs from monolog to conversation, and post hoc analyses further revealed that the change in LS is greater for conflict than for friendly conversations. The difference between monologs and conversations is reflected more strongly in the dynamics (i.e., structure and complexity) of LS than the proportion of function words used. Theoretical implications and directions for future studies are discussed. (shrink)

Many decades after the publication of Genesis and development of a scientific fact, Fleck’s collective Denkstil remains a very important notion for analyzing the history of the biological and medical sciences. Following Fleck’s perspective this paper argues that the history of the sex hormones was critically shaped by our representation of the sexes, and our perceptions of the division of reproductive labor. Emerging at the boundary between physiological laboratories and consultation room, a molecular/endocrine style of thought stabilized during the early (...) decades of the twentieth century around the manipulation of sex hormones. This not only proved important in normalizing the sexual body, but also in defining sterility, menstrual disorders or menopause as pathological events to be treated ‘causally’.Analyzing the role played by industrial companies like the German firm Schering which produced these drugs, the paper suggests that the idea of a work style may be a convenient way to complement Fleck’s style of thought. First, the idea of work style is a reminder that science involves material action, which has strong links with industrial production. Second, it draws our attention to a deeply entrenched goal of the modern biosciences, the search for means to control the variability of the living, and standardize its uses. (shrink)

The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and (...) technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech. (shrink)

During the second half of the 19th century, in the field of physiological optics, there was a strong controversy between Hermann von Helmholtz and Ewald Hering. This controversy has been usually characterized as “empiricism” vs. “nativism”. In the field of physiology of visual perception, several subjects demanded attention, among them, color vision. Helmholtz and Hering suggested different theories for the physiological correlate of color sensation and different color spaces to give an account of the relationships between colors. In this (...) article, I will argue that the controversy between the two authors could be understood as differences between styles of reasoning, and these different styles express different presuppositions. More specifically, I want to suggest that the disagreements could be linked to the discussions on how vital phenomena should be studied. (shrink)

Attention-deficit/hyperactivity disorder (ADHD) is currently defined as a cognitive/behavioral developmental disorder where all clinical criteria are behavioral. Inattentiveness, overactivity, and impulsiveness are presently regarded as the main clinical symptoms. The dynamic developmental behavioral theory is based on the hypothesis that altered dopaminergic function plays a pivotal role by failing to modulate nondopaminergic (primarily glutamate and GABA) signal transmission appropriately. A hypofunctioning mesolimbic dopamine branch produces altered reinforcement of behavior and deficient extinction of previously reinforced behavior. This gives rise to (...) delay aversion, development of hyperactivity in novel situations, impulsiveness, deficient sustained attention, increased behavioral variability, and failure to “inhibit” responses (“disinhibition”). A hypofunctioning mesocortical dopamine branch will cause attention response deficiencies (deficient orienting responses, impaired saccadic eye movements, and poorer attention responses toward a target) and poor behavioral planning (poor executive functions). A hypofunctioning nigrostriatal dopamine branch will cause impaired modulation of motor functions and deficient nondeclarative habit learning and memory. These impairments will give rise to apparent developmental delay, clumsiness, neurological “soft signs,” and a “failure to inhibit” responses when quick reactions are required. Hypofunctioning dopamine branches represent the main individual predispositions in the present theory. The theory predicts that behavior and symptoms in ADHD result from the interplay between individual predispositions and the surroundings. The exact ADHD symptoms at a particular time in life will vary and be influenced by factors having positive or negative effects on symptom development. Altered or deficient learning and motor functions will produce special needs for optimal parenting and societal styles. Medication will to some degree normalize the underlying dopamine dysfunction and reduce the special needs of these children. The theory describes how individual predispositions interact with these conditions to produce behavioral, emotional, and cognitive effects that can turn into relatively stable behavioral patterns. Key Words: catecholamine; clumsiness; dopamine; hyperkinesis; hyperkinetic disorder; impulsivity; monoamine; neuromodulator; overactivity; pollutants; reinforcement; reward; verbally governed behavior; soft signs; variability. (shrink)