v. 1. The origins of a theoretical psychology -- v. 2. Theory and method -- v. 3. Major theoretical positions in twentieth century psychology -- v. 4. The human dilemma : social, developmental, and abnormal psychology.

There is a noticeable gap between results of cognitive neuroscientific research into basic mathematical abilities and philosophical and empirical investigations of mathematics as a distinct intellectual activity. The paper explores the relevance of a Wittgensteinian framework for dealing with this discrepancy.

'Globalization' provides an ambiguous cliché for psychology as the North American and European version of the discipline is being exported widely. After providing a brief history of globalization and the failure of its intended effects I discuss three episodes of psychology's place in a globalized marketplace of ideas; the pre-1900 development of psychology in Germany and North America, the failure of phenomenological psychology in Europe after World War II and the current state of the professionalization of psychology. Psychology has, thus (...) far, largely followed the enthusiasms of the globalizers. While it is far too late to create 'indigenous psychologies,' theory remains a vehicle of questioning, coaxing, and resistance through which to engage the multiplicity of subjectivities that confront us. 2012 APA, all rights reserved). (shrink)

We argue that Chow's defense of hypothesis-testing procedures attempts to restore an aura of objectivity to the core procedures, allowing these to take on the role of judgment that should be reserved for the researcher. We provide a brief overview of what we call the historical case against hypothesis testing and argue that the latter has led to a constrained and simplified conception of what passes for theory in psychology.

This book is a lively and provoking introduction to film theory.

This article provides somephilosophical ``groundwork'' for contemporary debatesabout the status of the idea(l) of critical thinking.The major part of the article consists of a discussionof three conceptions of ``criticality,'' viz., criticaldogmatism, transcendental critique (Karl-Otto Apel),and deconstruction (Jacques Derrida). It is shown thatthese conceptions not only differ in their answer tothe question what it is ``to be critical.'' They alsoprovide different justifications for critique andhence different answers to the question what giveseach of them the ``right'' to be critical. It is arguedthat (...) while transcendental critique is able to solvesome of the problems of the dogmatic approach tocriticality, deconstruction provides the most coherentand self-reflexive conception of critique. A crucialcharacteristic of the deconstructive style of critiqueis that this style is not motivated by the truth ofthe criterion (as in critical dogmatism) or by acertain conception of rationality (as intranscendental critique), but rather by a concern forjustice. It is suggested that this concern should becentral to any redescription of the idea(l) ofcritical thinking. (shrink)

Moet de strafrechter ook de scheidsrechter zijn van het publieke debat? De scheiding der machten in het licht van de vrijheid van meningsuiting voor volksvertegenwoordigers This article contains a critical review of the provisions in the Dutch penal code regarding group defamation and hate speech. It is argued that not only these provisions themselves but also their application by the Dutch supreme court, constitutes a problem for the legitimacy and functioning of representative democracy. This is due to the tendency of (...) the supreme court to employ special constraints for offensive, hateful or discriminatory speech by politicians. Because such a special constraint is not provided or even implied by the legislator, the jurisprudence of the supreme court is likely to end up in judicial overreach and therefore constitutes a potential – if not actual – breach in the separation of powers. In order to forestall these consequences, the protection of particularly political speech should be improved, primarily by a revision of the articles 137c and 137d of the Dutch penal code or the extension of parliamentary immunity. (shrink)

This book demonstrates the vital connection between language and gesture, and why it is critical for research on second language acquisition to take into account the full spectrum of communicative phenomena. The study of gesture in applied linguistics is just beginning to come of age. This edited volume, the first of its kind, covers a broad range of concerns that are central to the field of SLA. The chapters focus on a variety of second-language contexts, including adult classroom and naturalistic (...) learners, and represent learners from a variety of language and cultural backgrounds. Gesture: Second Language Acquisition and Classroom Research is organized in five sections: Part I, Gesture and its L2 Applications, provides both an overview of gesture studies and a review of the L2 gesture research. Part II, Gesture and Making Meaning in the L2, offers three studies that all take an explicitly sociocultural view of the role of gesture in SLA. Part III, Gesture and Communication in the L2, focuses on the use and comprehension of gesture as an aspect of communication. Part IV, Gesture and Linguistic Structure in the L2, addresses the relationship between gesture and the acquisition of linguistic features, and how gesture relates to proficiency. Part V, Gesture and the L2 Classroom, considers teachers’ gestures, students’ gestures, and how students’ interpret teachers’ gestures. Although there is a large body of research on gesture across a number of disciplines including anthropology, communications, psychology, sociology, and child development, to date there has been comparatively little investigation of gesture within applied linguistics. This volume provides readers unfamiliar with L2 gesture studies with a powerful new lens with which to view many aspects of language in use, language learning, and language teaching. (shrink)

Taking Rom Harré's social constructionism as a focus we point to and discuss the issue of the a priori psychological subject in social constructionist theory. While Harré indicates that interacting, intending beings are necessary for conversation to occur, he assumes that the primary human reality is conversation and that psychological life emerges from this social domain. Nevertheless, we argue that a fundamental and agentive psychological subject is implicit to his constructionist works. Our critical analyses focus upon Harré's understandings of persons, (...) human development and human agency. Our intention is neither to suggest that this latent entity must be understood in a Cartesian sense nor is it to ask for an explicit accounting of an autonomous agent. Rather, our claim is simply that psychological subjectivity is reflexively entailed in Harré's human psychology. We suggest that this pertains more generally to social constructionist theory. (shrink)

Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly important. In (...) order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research. (shrink)

We performed an EEG graph analysis on data from 31 typical readers (22.27 ± 2.53 y/o) and 24 dyslexics (22.99 ± 2.29 y/o), recorded while they were engaged in an audiovisual task and during resting-state. The task simulates reading acquisition as participants learned new letter-sound mappings via feedback. EEG data was filtered for the delta (0.5–4 Hz), theta (4–8 Hz), alpha (8–13 Hz), and beta (13–30 Hz) bands. We computed the Phase Lag Index (PLI) to provide an estimate of the (...) functional connectivity between all pairs of electrodes per band. Then, networks were constructed using a Minimum Spanning Tree (MST), a unique sub-graph connecting all nodes (electrodes) without loops, aimed at minimizing bias in between groups and conditions comparisons. Both groups showed a comparable accuracy increase during task blocks, indicating that they correctly learned the new associations. The EEG results revealed lower task-specific theta connectivity, and lower theta degree correlation over both rest and task recordings, indicating less network integration in dyslexics compared to typical readers. This pattern suggests a role of theta oscillations in dyslexia and may reflect differences in task engagement between the groups, although robust correlations between MST metrics and performance indices were lacking. (shrink)

Deterministic models in population dynamics often are really approximations to stochastic models, justified by an appeal to the law of large numbers. It is proposed to call such models pseudodeterministic. Four questions are discussed in this article: (1) What errors may be made by equating deterministically predicted values to expectations? (2) When, and in what sense, may numbers be assumed to be large? (3) How large are the variances, coefficients of variations, etc., as assigned to the variables in the stochastic (...) versions of the models? (4) What role may pseudodeterministic models play in empirical research, where problems of statistical reliability arise?As an example, a modified Nicholson-Bailey model of the interaction between insect parasitoids and their hosts is discussed; the modification consists of assigning a random (density-independent) mortality to the parasitoid population. A stochastic version of this model is discussed. The expectation of the final host density is compared with the value computed from the deterministic model. The latter value is systematically lower than the former. The magnitude of the difference depends on parameter values. The variability to be expected with the stochastic model is characterized by the coefficient of variation of the final host density; its dependence on parameter values and initial conditions is discussed. It is concluded that it is worthwhile in practical applications to estimate parasitoid mortality, and that the coefficient of variation in real situations may be far from negligible. (shrink)

Osip Mandel''tam (1891–1938?) belongs among the greatest Russian poets of the twentieth century. During the thirties, when he led a tragic existence and felt a premonition of his inevitable violent death, Mandel''tam saw in Dante not only the greatest poet, but also his own superior teacher, and his poems of that period contain a tormented meditation on the masterpiece of Dante''s genius — theDivine Comedy.Epic poetry of Dante, Homer, Virgil and others was possible because the inner world of each poet (...) was essentially at one with the ethos of the society in which he lived. (shrink)

In Mandel'tam's writing, artistic creativity is described as based on the indispensable yet contradictory modes of compliance and deviation. The artist, by his artistic nature, must be an obedient disciple to the tradition that inspires him, and, at the same time, a violator who renders what inspires him in an individual form. Thus, art implies iterability through novelty. In the totalitarian state, this double nature of art acquires a sinister context and brings the artist to an unavoidable conflict with the (...) state. He has a choice between a servile compliance with the state's command and artistic independence. If the artist complies, he loses his ingenuity; if, on the other hand, he has the courage to break away from the established order, his fate is martyrdom. The criteria of truth and falsehood, the issue of loyalty, of compromise and collaboration or resistance become most relevant. Such words as outcast or non-contemporary acquire the meaning of non-collaborationist or enemy of the people. In the totalitarian state a genuine artist is viewed as a law-breaker, and his art leads him to crime. The notions of compliance and deviation cease being merely aesthetic terms and assume in Mandel'tam's poetry complex, subtle and tragic overtones. (shrink)

Diese Biographie BERKELEYS beansprucht nicht, eine umfassende Darstellung aller Aspekte dieser faszinierenden Personlichkeit und des zugehorigen Werkes zu geben, sondern betont bewuGt die Seiten, die geeignet sind, das Verstiindnis seiner Beitriige zur Entwicklung der Wissenschaften im 18. lahrhundert zu fordern. Dabei wurde der Schwerpunkt auf die Diskussionen iiber die Grundlagen der Mathe­ matik gelegt. Die folgende Darstellung unterstreicht also gerade die Ziige BERKELEYS, die in den anderen Darstellungen nur beiliiufig behandelt werden, wenn man sie nicht ganz vernachliissigt. Vor allem im (...) deutschsprachigen Raum wurde BERKELEY immer wieder unter­ schiitzt oder miBachtet 1. Wiihrend der Vorbereitung zu diesem Buch erschien eine aus­ gezeichnete BERKELEY -Monographie von AREND K ULENKAMPFF 2. Leser, die sHirker an der Philosophie BERKELEYS interessiert sind, seien auf diese Schrift verwiesen. Ob es mehr als ein gliicklicher Zufall ist, daG innerhalb so kurzer Zeit nach fUnfzig lahren Pause gleich zwei deutschsprachige Biicher iiber BERKELEY erscheinen, wird sich in der Zukunft zeigen. Die Ubersetzungen der Zitate und der Texte im Teil III stam­ men, wenn nicht anders angegeben, von mir. Ich danke allen, die an der Entstehung dieses Buches direkt oder indirekt mitgewirkt haben, insbesondere DAVID BERMAN (Dub­ lin) und RAYMOND W. HOUGHTON (Dublin), die mir in so entgegen­ kommender Weise das Bildmaterial ihres Buches Images zur VerfU­ gung stellten und mir mit Informationen behilflich waren, und B. P. (shrink)

Based on Robert Chartier’s discussions on textual materiality, this study intends to question the relations between filmic text and the materiality of its media, both film and television, considering their different devices from the same analytical perspective. Besides Chartier’s ideas, we will also discuss works by Robert Stam, Santos Zuzunegui and Jean-Louis Baudry.

The teaching of the jubilee constitutes a fundamental pillar for the comprehension of the biblical theology about justice and peace. Juan Stam, distinguished theologian identified with Latin American evangelical theology, has written about this subject through the years as a Christian thinker. In this article, and as a tribute to him, it is a synthesis of his thoughts. The jubilee appeals to the experience of human and solidary faith, as well as the Christian mission practice, as a search for (...) a just world where God’s Shalom be a personal and social reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian (...) Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial because in many films the majority of music is nondiegetic. For the audience, it is also the channel most removed from everyday life. While people do interact with images, the spoken word, text, and sound in the normal course of a day, people do not walk around constantly supported by a sensitive soundtrack that follows their emotions and thoughts.Yet despite the artificiality of the musical score in comparison with everyday life, audiences have come to accept film music as an integral part of what it means to watch a film. Films that fail to use much music or fail to use it well often have a problem involving the audience as completely as films that embrace music as a tool that can expose the inner feelings and thoughts of characters and can shape the way that viewers feel about what’s happening on screen. To understand the importance of film music, Stam, Burgoyne, and Flitterman-Lewis further explain why it is important to examine music as a significant channel through which the audience makes meaning of the film: “Metz’s definition of the cinema’s matter of expression as consisting of five tracks—image, dialogue, noise, music, written materials—served to call attention to the soundtrack and thus to undercut the formulaic view of [End Page 81] the cinema as an ‘essentially visual’ medium which was ‘seen’ (not heard) by ‘spectators’ (not auditors).”2 By distinguishing dialogue, noise, and music—all auditory channels of information—as important pieces of film, Stam, Burgoyne, and Flitterman-Lewis support Metz’s assertion “that the cinema possesses various ‘dialects,’ and that each one of these ‘dialects’ can become the subject of a specific analysis.”3 Once audiences and critics consider music as one of the fundamental “dialects” of film, it then makes sense to understand music as an essential part of communication and argument in film.But is the film score more than just a reflection of a character’s sadness or the exciting chase music that exhilarates audiences? While most audiences would certainly be able to cite numerous instances of music reflecting the feelings of characters or the general mood of the film, some people might be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; empathetic music, which conveys the emotions of the characters; a-empathetic music, which seems indifferent to the drama; and didactic contrapuntal music, which uses music to distance the audience “in order to elicit a precise, usually ironic, idea in the spectator’s mind.”4 Though these terms can be limiting because music often fulfills more than just one role in a scene, they do demonstrate that music is making an argument or working to convince or persuade the audience, proving that film music is behaving rhetorically. Though film music does often fulfill the basic roles of conveying emotion and suggesting connections or themes in the film, film music also works in more complex roles to affect the meaning in film. Through music’s development of specific leitmotifs, themes, and cues, the calculated use of film music in conjunction with the other channels of information helps to create the narrative and control the way... (shrink)

Philosophers of psychology debate, among other things, which psychological models, if any, are (or provide) mechanistic explanations. This should seem a little strange given that there is rough consensus on the following two claims: 1) a mechanism is an organized collection of entities and activities that produces, underlies, or maintains a phenomenon, and 2) a mechanistic explanation describes, represents, or provides information about the mechanism producing, underlying, or maintaining the phenomenon to be explained (i.e. the explanandum phenomenon) (Bechtel and Abrahamsen (...) 2005; Craver 2007). If there is a rough consensus on what mechanisms are and that mechanistic explanations describe, represent, or provide information about them, then how is there no consensus on which psychological models are (or provide) mechanistic explanations? Surely the psychological models that are mechanistic explanations are the models that describe, represent, or provide information about mechanisms. That is true, of course; the trouble arises when determining what exactly that involves. Philosophical disagreement over which psychological models are mechanistic explanations is often disagreement about what it means to describe, represent, or provide information about a mechanism, among other things (Hochstein 2016; Levy 2013). In addition, one's position in this debate depends on a host of other seemingly arcane metaphysical issues, such as the nature of mechanisms, computational and functional properties (Piccinini 2016), and realization (Piccinini and Maley 2014), as well as the relation between models, methodologies, and explanations (Craver 2014; Levy 2013; Zednik 2015). Although I inevitably advocate a position, my primary aim in this chapter is to spell out all these relationships and canvas the positions that have been taken (or could be taken) with respect to mechanistic explanation in psychology, using dynamical systems models and cognitive models (or functional analyses) as examples. (shrink)