We have considered a simple word game called the word-morph. After making our participants play a stipulated number of word-morph games, we have analyzed the experimental data. We have given a detailed analysis of the learning involved in solving this word game. We propose that people are inclined to learn landmarks when they are asked to navigate from a source to a destination. We note that these landmarks are nodes that have high closeness-centrality ranking.

Without doubt,veni vidi viciis one of the most famous quotations from Antiquity. It is well known that it was Julius Caesar who coined the renowned expression. Less frequently discussed is the fact that ‘I came, I saw, I conquered’ was announced as written text. According to Suetonius, Caesar paraded a placard displaying the wordsveni vidi viciin his triumph held over Pontus in 46b.c.:Pontico triumpho inter pompae fercula trium verborum praetulit titulum VENI VIDI VICI non acta belli significantem sicut (...) ceteris, sed celeriter confecti notam.In his Pontic triumph he exhibited among the biers of the procession a placard with three words VENI VIDI VICI, not to show the deeds performed in the war, as in the others, but to mark out how fast the war had been concluded. (shrink)

The purpose of this article is to identify a close, "polyphonic" connection, consolidation of ancient forms and techniques of compositional writing of the twentieth century. The subject of the study is the choral creativity of Alexander Vustin. The object of the study is the consideration of polyphonic works of techniques in A. Vustin's composition "Veni Sancte Spiritus". The musical language of A. Vustin is characterized by extreme restraint, depth, semantic concentration. The appeal to ancient polyphonic genres, forms and techniques (...) of writing in A. Vustin's choral compositions is characterized by an individual approach to solving a creative idea. The nature of the presentation of the original source, the methods of working with it acquires uniqueness in accordance with the new artistic tasks of modern music. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of a musical composition are revealed: a musical-text source is attributed, genre specifics and musical form are analyzed. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. Special attention is paid to the ancient technique of writing on the cantus firmus in its refraction in modern choral composition.The main conclusion of the conducted research is the paradigm of artistic connections of genres, forms and techniques of ancient polyphony with modern means of compositional writing. Attention is focused on the need to study the issues related to the architectonics of modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art. The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of the composition "Veni Sancte Spiritus" by A. Vustin, which has not previously been the object of special research, and its introduction into modern scientific usage. (shrink)

This article describes my VENI project on the reconceptualization of community. It argues that the idea of a socially situated subject has not become obsolete in times of globalization, but that a rethinking of the concept of community is now required: how to account for the simultaneous transience and persistence of belonging? It then explains that by staging a conversation between Jean-Luc Nancy and Stanley Cavell, an account can be developed that meets both criteria for thinking community today.

The purpose of this article is to show, by the example of Hugo Grotius's Annales et Historiae de rebus Belgicis (AH), that the nature and content of the concept of Tacitism (Tacitist, Tacitean) in the period around 1600 was markedly different from modern perceptions of the style and political purport of Tacitus's works. This gap between current and early-modern conceptions of Tacitus is important to bear in mind for intellectual historians dealing with early-modern intellectual currents such as Reason of State, (...) Neo-Stoicism, Tacitism, and others. This article first describes how the Tacitean style is characterised in literary criticism around 1600; then it explores the qualities of Hugo Grotius's imitation of Tacitus from the 17th-century perspective and from that of some main aspects of the present-day view of Tacitus. It concludes that Grotius's imitation shows Tacitus's style in a characteristically 17th-century mirror, in that it puts emphasis on Tacitean syntax, brevity and choice of words (the stylistic micro-level), as well as on political iudicium and Reason of State, but omits imitation of the narrative and structural qualities of Tacitus's composition, and their implications, which are central to modern interpretations. ☆ This article is part of the outcome of a research project on Grotius's Annales et Historiae conducted at the Radboud University Nijmegen in 2004–2008 with a VENI-grant from the Dutch research organisation NWO. I thank Corinna Vermeulen, Marc van der Poel, Hans Blom and HEI's anonymous referees for their comments on this piece. (shrink)

Mental states in psychology Many of our thoughts, emotions and motivations have intentional content: they are ‘about’ something. In this paper I present my VENI research project, which starts from the observation that the everyday practice of empirical psychological research is built on the idea that mental states have content. However, empirical psychology lacks a clear view on how mental content should be understood and how mental states could be causally efficacious in virtue of their content. I focus on (...) mental states that play a role in psychiatric symptomatology, and develop an interpretivist answer to these questions. I also offer some suggestions showing how an interpretivist notion of mental content could be used in empirical research on psychiatric symptoms. (shrink)

Scholars have recently noted the interest of Guibert of Tournai’s sermons on Francis of Assisi. Nicole Bériou partially edited Guibert’s sermon Surrexit Helyas, focusing on the theme of prophecy, in 1994,1 and Sean Field edited two more, Inflammatum est cor meum and Veni columba mea, highlighting the theme of Francis as a perfected soul through annihilation, in 1999.2 The two yet unexamined works in Guibert’s corpus of sermons discussing Francis hold their own interest, as they discuss an important topos (...) in Franciscan literature of the mid-thirteenth century. The present article edits and analyzes these two previously unedited sermons for the first time.3 This topos is the Biblical quotation Vidi .. (shrink)

O presente trabalho parte do pressuposto de que determinadas experiências de escrita se propõem não apenas como estéticas, mas como modos de compromisso que, por meio da forma, talvez reconhecida como artística, perseguem a abertura e a inauguração, no mundo e na realidade, de novas possibilidades de vida, ainda que, como realização, sejam inéditas. Para tal, ele se desenvolve em três movimentos: no primeiro, partimos da consideração de que, no texto de Maria Gabriela Llansol, há uma aposta na união entre (...) _liberdade de consciência_, ou elemento ético, e _dom poético_, ou elemento estético, que pode ser afirmada como uma aspiração pela ressurreição. No segundo, realizamos um percurso por compreensões a respeito da ressurreição, de encontro com dois textos bíblicos – _Lazare, veni foras _e _Noli me tangere_ – que marcam reflexões a respeito da ressurreição em relação com a literatura. Por fim, procuramos compreender como, em Maria Gabriela Llansol, tais considerações se fazem presentes pela “continuidade de problemáticas”, conforme é possível reconhecer na figura de Thomas Müntzer. (shrink)

In these lines Ovid introduces Althaea's debate whether or not to kill her son Meleager by burning the brand which was his life, because he had killed her two brothers during the Calydonian boar hunt. A. S. Hollis says of line 476 that it contains ‘a forced and almost pointless word-play’. If sanguis is taken in its primary meaning, ‘blood’, this condemnation is quite justified. However, if one takes into account a secondary sense, the word-play acquires more strength. This sense (...) is that of ‘offspring’ or ‘descendant’. Examples of this usage include Virgil, Aeneid 6.835 ‘sanguis meus’ , Horace, Carmen Saeculare 50 ‘clarus Anchisae Venerisque sanguis’ , Odes 3.27.65 ‘regius sanguis’ , and, in the Metamorphoses itself ‘pro…meo veni supplex tibi, Iuppiter, …sanguine’. It may well be that Ovid was intending implications of both meanings in his choice of the word. (shrink)