Background and objectives: Developmental coordination disorder is a neurodevelopmental motor disorder occurring in 5-6% of school-aged children. It is suggested that children with DCD show deficits in motor learning. Transcranial direct current stimulation enhances motor learning in adults and children but is unstudied in DCD. We aimed to investigate if tDCS, paired with motor skill training, facilitates motor learning in a pediatric sample with DCD.Methods: Twenty-eight children with diagnosed DCD were randomized and placed into a treatment or sham group. Anodal (...) tDCS was applied in conjunction with fine manual training over 5 consecutive days. Children's motor functioning was assessed with the Purdue Pegboard Test and Jebsen-Taylor Hand Function Test at baseline, post-intervention and 6 weeks following intervention. Group differences in rates of motor learning and skill transfer/retention were examined using linear mixed modeling and repeated measures ANOVAs, respectively.Results: There were no serious adverse events or drop-outs and procedures were well-tolerated. Independent of group, all participants demonstrated improved motor scores over the 5 training days [F, p < 0.001, 95% CI ], with no skill decay observed at retention. There was no interaction between intervention group and day [F, p = 0.086, 95% CI ].Conclusion: Children with DCD demonstrate motor learning with long-term retention of acquired skill. Motor cortex tDCS did not enhance motor learning as seen in other populations. Before conclusions of tDCS efficacy can be drawn, additional carefully designed trials with reproducible results are required.Clinical Trial Registration:ClinicalTrials.gov: NCT03453983. (shrink)

Background Continued advances in human microbiome research and technologies raise a number of ethical, legal, and social challenges. These challenges are associated not only with the conduct of the research, but also with broader implications, such as the production and distribution of commercial products promising maintenance or restoration of good physical health and disease prevention. In this article, we document several ethical, legal, and social challenges associated with the commercialization of human microbiome research, focusing particularly on how this research is (...) mobilized within economic markets for new public health uses. Methods We conducted in-depth, semi-structured interviews (2009–2010) with 63 scientists, researchers, and National Institutes of Health project leaders (“investigators”) involved with human microbiome research. Interviews explored a range of ethical, legal, and social dimensions of human microbiome research, including investigators’ perspectives on commercialization. Using thematic content analysis, we identified and analyzed emergent themes and patterns. Results Investigators discussed the commercialization of human microbiome research in terms of (1) commercialization, probiotics, and issues of safety, (2) public awareness of the benefits and risks of dietary supplements, and (3) regulation. Conclusion The prevailing theme of ethical, legal, social concern focused on the need to find a balance between the marketplace, scientific research, and the public’s health. The themes we identified are intended to serve as points for discussions about the relationship between scientific research and the manufacture and distribution of over-the-counter dietary supplements in the United States. (shrink)

Recent research has provided converging evidence, using multiple tasks, of sensitivity to fairness in the second year of life. In contrast, findings in the first year have been mixed, leaving it unclear whether young infants possess an expectation of fairness. The present research examined the possibility that young infants might expect windfall resources to be divided equally between similar recipients, but might demonstrate this expectation only under very simple conditions. In three violation-of-expectation experiments, 9-month-olds (N = 120) expected an experimenter (...) to divide two cookies equally between two animated puppets (1:1), and they detected a violation when she divided them unfairly instead (2:0). The same positive result was obtained whether the experimenter gave the cookies one by one to the puppets (Experiments 1–2) or first separated them onto placemats and then gave each puppet a placemat (Experiment 3). However, a negative result was obtained when four (as opposed to two) cookies were allocated: Infants looked about equally whether they saw a fair (2:2) or an unfair (3:1) distribution (Experiment 3). A final experiment revealed that 4-month-olds (N = 40) also expected an experimenter to distribute two cookies equally between two animated puppets (Experiment 4). Together, these and various control results support two broad conclusions. First, sensitivity to fairness emerges very early in life, consistent with claims that an abstract expectation of fairness is part of the basic structure of human moral cognition. Second, this expectation can at first be observed only under simple conditions, and speculations are offered as to why this might be the case. (shrink)

Boundary extension is a memory phenomenon in which an individual reports seeing more of a scene than they actually did. We provide the first examination of boundary extension in individuals diagnosed with depression, hypothesising that an overemphasis on pre-existing schema may enhance boundary extension effects on emotional photographs. The relationship between boundary extension and overgeneralisation in autobiographical memory was also explored. Individuals with (n = 42) and without (n = 41) Major Depressive Disorder completed a camera paradigm task utilising positive, (...) negative, and neutral stimuli. Across all participants, positive (d = 0.37) and negative (d = 0.66) stimuli were extended more than neutral stimuli. This effect did not differ between depressed and never-depressed participants. Across all participants, images containing objects were extended more than images containing faces. An association was also evident between extension effects in memory for perceptual space and extensions of autobiographical memory across time. (shrink)

The debate around vaccine passports has been polarising and controversial. Although the measure allows businesses to resume in-person operations and enables transitioning out of lockdown due to the COVID-19 pandemic, some have expressed concerns about liberty violations and discrimination. Understanding the splintered viewpoints can aid businesses in communicating such measures to employees and consumers. We conceptualise the business implementation of vaccine passports as a moral decision rooted in individual values that influence reasoning and emotional reaction. We surveyed support for vaccine (...) passports on a nationally representative sample in the United Kingdom in 2021: April (n = 349), May (n = 328), and July (n = 311). Drawing on the Moral Foundations Theory—binding (loyalty, authority, and sanctity), individualising (fairness and harm), and liberty values—we find that individualising values are a positive predictor and liberty values a negative predictor of support for passports, suggesting adoption hinges on addressing liberty concerns. Longitudinal analysis examining the trajectory of change in support over time finds that individualising foundations positively predict changes in utilitarian and deontological reasoning over time. In contrast, a fall in anger over time predicts increased support towards vaccine passports. Our study can inform business and policy communication strategies of existing vaccine passports, general vaccine mandates, and similar measures in future pandemics. (shrink)

This article reflects on a number of liturgical innovations in the worship of Melodi ya Tshwane, an inner-city congregation of the Uniting Reformed Church in Southern Africa . The focus of the innovations was to implement the understanding of justice in Article 4 of the Confession of Belhar, a confessional standard of the URCSA. The basic contention of the article is that well designed liturgies that facilitate experiences of beauty can nurture a concrete spirituality to mobilise urban church members for (...) a justice-seeking lifestyle. After exploring the message of Article 4 of Belhar, the article analyses eight liturgical features of Melodi ya Tshwane, showing how beauty and justice interact in those acts of worship. (shrink)

Voici venir l’heure du prestige pour la race des femmes (timà gunaikeío génei) ; une injurieuse renommée (duskélados pháma) ne pèsera plus sur elles.Les poèmes des antiques chanteurs cesseront de célébrer ma perfidie. Phoibos, le maître des mélodies, n’a point doté notre esprit du chant inspiré de la lyre (lúras … théspin aoidàn) ; sans quoi j’aurais retourné l’hymne contre la race des mâles. En 431 av. J.C., ces vers du poète Euripide sont chantés à l'unisson sur la scène du (...) théâtre de Diony... (shrink)

The ongoing generation of expectations is fundamental to listeners’ experience of music, but research into types of statistical information that listeners extract from musical melodies has tended to emphasize transition probabilities and n‐grams, with limited consideration given to other types of statistical learning that may be relevant. Temporal associations between scale degrees represent a different type of information present in musical melodies that can be learned from musical corpora using expectation networks, a computationally simple method based on activation and decay. (...) Expectation networks infer the expectation of encountering one scale degree followed in the near (but not necessarily immediate) future by another given scale degree, with previous work suggesting that scale degree associations learned by expectation networks better predict listener ratings of pitch similarity than transition probabilities. The current work outlines how these learned scale degree associations can be combined to predict melodic continuations and tests the resulting predictions on a dataset of listener responses to a musical cloze task previously used to compare two other models of melodic expectation, a variable‐order Markov model (IDyOM) and Temperley's music‐theoretically motivated model. Under multinomial logistic regression, all three models explain significant unique variance in human melodic expectations, with coefficient estimates highest for expectation networks. These results suggest that generalized scale degree associations informed by both adjacent and nonadjacent relationships between melodic notes influence listeners’ melodic predictions above and beyond n‐gram context, highlighting the need to consider a broader range of statistical learning processes that may underlie listeners’ expectations for upcoming musical events. (shrink)

Infinite time register machines (ITRMs) are register machines which act on natural numbers and which are allowed to run for arbitrarily many ordinal steps. Successor steps are determined by standard register machine commands. At limit times register contents are defined by appropriate limit operations. In this paper, we examine the ITRMs introduced by the third and fourth author (Koepke and Miller in Logic and Theory of Algorithms LNCS, pp. 306–315, 2008), where a register content at a limit time is set (...) to the lim inf of previous register contents if that limit is finite; otherwise the register is reset to 0. The theory of these machines has several similarities to the infinite time Turing machines (ITTMs) of Hamkins and Lewis. The machines can decide all ${\Pi^1_1}$ sets, yet are strictly weaker than ITTMs. As in the ITTM situation, we introduce a notion of ITRM-clockable ordinals corresponding to the running times of computations. These form a transitive initial segment of the ordinals. Furthermore we prove a Lost Melody theorem: there is a real r such that there is a program P that halts on the empty input for all oracle contents and outputs 1 iff the oracle number is r, but no program can decide for every natural number n whether or not ${n \in r}$ with the empty oracle. In an earlier paper, the third author considered another type of machines where registers were not reset at infinite lim inf’s and he called them infinite time register machines. Because the resetting machines correspond much better to ITTMs we hold that in future the resetting register machines should be called ITRMs. (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

The bipolar type systems in the sense ofKretschmer, Jaensch, Jung and psychology of form current in presentday psychology are subjected to criticism from the point of view of their practical utility for the diagnosis of human beings, since they are unable to do justice to the complexity of human nature. The author sees two chief problems in the concept of type. According to their function, types are comparable with ultimate forms in which conclusions are drawn from a number of familiar (...) characteristics as to the simultaneous occurrence of the remaining characteristics which are more difficult to apprehend empirically. Their nature places types in close analogy to forms and melodies. Assignment to certain types is not a mere classification, but a heuristic speculation. The response of primitive organisms to complexes of characteristics represents a phylogenetically older form of typological conclusion. Special emphasis is laid upon the intimate relation existing between the typological method of apprehension and the active side of organisms. Brief reference is made to the way in which types can be statistically derived, the apriority problem of the type and the transmission of types by heredity.Les systèmes de types bipolaires usuels dans la psychologie actuelle d'aprèsKretschmer, Jaensch etJung et la psychologie de la structure de formes sont soumis à une critique établie du point de vue de son application pratique au diagnostic humain, car ils ne permettent pas de venir à bout de la nature humaine. L'auteur voit dans la notion des types deux problèmes principaux: d'après leur fonction les types sont comparables à des syllogismes dans lesquelles à l'intérieur d'une série de caractères associés on déduit d'un certain nombre de caractères connus la présence de caractères individuels difficiles à saisir empiriquement. D'après leur nature les types sont en analogie avec les figures et les mélodies. L'ordonnancement des types n'est pas une simple classification mais une entreprise heuristique. La recherche des complexes de caractères dans les organismes primitifs représente une forme phylogénétiquement ancienne de la déduction typologique. La relation étroite entre le mode de conception typologique et la manière d'agir des organismes est particulièrement souligné. La déductibilité statistique, la question d'apriorité des types et leur hérédité sont brièvement effleurées. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Nos faysoms contre Nature...”: Fourteenth-Century Sophismata and the Musical Avant GardeDorit TanayThe secular musical repertory of the late fourteenth century has been described in terms of unparalleled rhythmic intricacies, reflecting a conscious tendency to exhaust the scope of free play within the parameter of time in music. 1 Historians of music see in such musical complexity a case of a musical system in disarray, to be explained by patterns (...) that seem always adequate to account for phases of aberration from stylistic norm, such as the notions of mannerism or fin de siècle phenomenon, understood literally as well as figuratively. 2Current views seem to echo contemporaneous observations. The late fourteenth-century poet-musician Guido cast his critique on what he interprets as a shift towards chaotic musical expression, in a form of an introspective ballade:Or voit tout en aventure Puis qu’ainsi me convient fayre A la novelle figure Qui doyt a chascun desplayre; Que c’est trestout en contraire De bon art qui est parfayt: Certes, ce n’est pas bien fayt. [End Page 29]Nos faysoms contre Nature De ce qu’est bien fayt deffayre; Que Philipe qui mais ne dure Nos dona boin exemplaire. Nos laisons tous ses afayres Por Marquet le contrefayt: Certes, ce n’est pas bien fayt. L’art de Marquet n’a mesureN’onques rien ne sait parfyre; D’ansuir et de portrayre C’est trop grant outrecuidure Ces figures, et tout traire Ou il n’a riens de bon trayt: Certes, ce n’est pas bien fayt. 3Curiously enough, Guido set his ballade to a melody that evokes some of the obscenities deplored in the poem. The musical text displays needless complication, being notated by deceitful figures that are willful, misleading, and difficult to decipher and follow. 4 The literary text, similarly, diversifies words in a vein of irony and ambiguity, clouding any indication as to whether the speaker is for or against the new style. In other words Guido’s esthetic position is sophistic, self-amused, and self-conscious.Since artistic expressions are generally conceived as reflecting their consumers, late-medieval chansons have been interpreted as a manifestation of the incredibly decadent yet sophisticated social milieu in which and for which the music was created. To ground further the argument for the correspondence between the countenance of the music and that of its audience, historians invoke the proximity in time and space between the evolution of the manneristic musical style, significantly in Avignon, and the Great Schism (1378–1417) that [End Page 30] followed the Babylonian Captivity. This famous crisis in the papal reign has been associated with a strong tendency to secularization in the papal Court, by which life styles became luxurious if not licentious. 5This socio-historical account is based on suggestive conjectures, comprising in part explanatory commonplaces. No direct relation can be established between the “Great Schism” or the specific social condition, of Avignon and the most refined music of the late fourteenth century. Furthermore, the claim of the above social account for a contextual approach is misleading. In fact no solid immanent relations are shown to exist between a complex, quasi-degenerate society on the one hand, and the intricate rhythms of the music on the other. The attribution of complexity in the broadest sense of the term does not satisfy our curiosity as to the possible interdependence between style and society. Interestingly enough, as far as late fourteenth-century chansons style is concerned, such an association can even be countered, considering the coincidental cultivation of the new simple style in the complex and decadent Burgundian courts of the waning Middle Ages. 6Here I propose to examine the late fourteenth-century musical style not on the background of social procedures but in the context of fourteenth century scientific thought, and to demonstrate immanent and structural cohesion between a compositional trend that features manipulations within the dimension of musical time and the sciences which investigate the properties of time qua continuum. This affinity concerns a parallel, yet not a completely overlapping, development directed towards the ultimate refinement of the notion of mensura. In other words we are dealing here... (shrink)

Qu’est-ce donc que la musique des aliens ou pour les aliens? Des cinq notes de la mélodie de Rencontres du troisième type aux explorations sonores de Sun Ra ou des intelligents dansants de l’électro, elle n’est peut-être que l’expression la plus accomplie d’une tendance très humaine à projeter sur l’extraterrestre certains reflets plus ou moins déformés de soi, surjouant quelque insaisissable mystère, révélation ou écart incompressible venu de l’ailleurs pour retrouver finalement, tout là-bas, une bribe d’ici.

The Musical Emotion Discrimination Task (MEDT) is a short, non-adaptive test of the ability to discriminate emotions in music. Test-takers hear two performances of the same melody, both played by the same performer but each trying to communicate a different basic emotion, and are asked to determine which one is “happier”, for example. The goal of the current study was to construct a new version of the MEDT using a larger set of shorter, more diverse music clips and an (...) adaptive framework to expand the ability range for which the test can deliver measurements. The first study analysed responses from a large sample of participants (N = 624) to determine how musical features contributed to item difficulty, which resulted in a quantitative model of musical emotion discrimination ability rooted in Item Response Theory (IRT). This model informed the construction of the adaptive MEDT. A second study contributed preliminary evidence for the validity and reliability of the adaptive MEDT, and demonstrated that the new version of the test is suitable for a wider range of abilities. This paper therefore presents the first adaptive musical emotion discrimination test, a new resource for investigating emotion processing which is freely available for research use. (shrink)

Tu es plongé dans le mystère de l'être. Mais il y a, dans ce grand mystère, une luminosité qu'il est possible de saisir. Je te propose donc ici ce qu'on pourrait appeler une carte dressée dont tu puisses te servir pour bien vivre en ce monde, un petit guide sur la voie de ton devenir humain, une aide qui te permette d'avancer dans l'accomplissement de ton être essentiel. Tu es un fils ou une fille de l'univers. Apprends donc à écouter (...) la mélodie du cosmos en toi-même. Dans sa beauté, elle peut fonder ton art de vivre aujourd'hui. Malgré les catastrophes inévitables et la mort tragique des individus, l'univers demeure un texte cohérent écrit de main de maître. Rappelle-toi que ton désir d'être est plus profond que tous tes désirs particuliers, et que la vie est un acte de courage, par lequel tu deviens dans ton existence quotidienne ce que tu es par essence. Veille donc à ce que tes actions, tes pensées et tes amours soient toujours les fruits du meilleur de toi-même. Vis enfin à la hauteur de ta plus haute espérance, en misant sur un sens ultime de ton existence et en continuant de croire que malgré les puissances du mal, l'Etre peut triompher du néant et la Vie de la mort. Ton courage d'être sera l'expression de ta foi dans le sens et de ta reconnaissance du noeud divin qui lie toute chose. Bénir la vie, n'est-ce pas le premier et le dernier mot d'un authentique art de vivre? (shrink)

The famous Russian historian V. O. Kluchevsky had been constantly interested in literature. In this article, the author considers Kluchevsky’s observations on M. Yu. Lermontov’s creativity through the analyses of sadness motives in the article ‘Sadness‘ published in the journal ‘Russian Thought‘. Kluchevsky tried to understand how sadness motives were appeared in the Russian literature and how these motives influenced Lermontov’s self-reflection. Literary analyses is constructed on famous Lermontov’s lyrics, such as ‘Sail‘, ‘The golden cloud slept…‘, ‘Dream‘ and ‘July the (...) 11th of 1831‘. Analyzing the lyrics ‘I go out alone on the road…‘ the author of this article paying attention to ‘hidden sadness‘, which is expressed impressively in melodious Lermontov’s lyric without ‘arrangement for notes‘. Kluchevsky had expressed it on the 50th anniversary of Lermontov’s death. The position of the historian reflected in his comparison of sad Lermontov with meek and devout Russian tsar Alexey Mikhailovich. For this comparison, he was reproached by writer and literary critic N. M. Mikhailovsky, but Kluchevsky thoroughly considered sadness motives in poet’s creativity based on examples from the lyrics and disagreed literary critic’s reproaches. The origins of sadness motives studied in the historian’s article are in lesser degree connected with the biography of young Lermontov and rooted in the ‘moral history‘ of all Russian society. (shrink)

Computer simulation and thought experiments seem to produce knowledge about the world without intervening in the world. This has called for a comparison between the two methods. However, Chandrasekharan et al. argue that the nature of contemporary science is too complex for using TEs. They suggest CS as the tool for contemporary sciences and conclude that it will replace TEs. In this paper, by discussing a few TEs from the history of science, I show that the replacement thesis about TE (...) is a failure. The paper is divided into three sections. The first section discusses the arguments of Chandrasekharan et al. and demonstrates the three distinct aspects of the replacement thesis. The second section examines the argument against TE and shows that they are inadequate to prove the withering of TE from science. The third section discusses Albert Einstein’s Magnet and Conductor TE and demonstrates that replacing such TE with CS yield no advantage. (shrink)

The use of sound to systematically communicate data has been with us for a long time, and has received considerable research, albeit in a broad range of distinct fields of inquiry. Sonification is uniquely capable of conveying series and patterns, trends and outliers…and effortlessly carries affect and emotion related to those data. And sound-either by itself or in conjunction with visual, tactile, or even olfactory representations-can make data exploration more compelling and more accessible to a broader range of individuals. Nevertheless, (...) sonification and auditory displays still occupy only a sliver of popular mindshare: most people have never thought about using non-speech sound in this manner, even though they are certainly very familiar with other intentional uses of sound to convey status, notifications, and warnings. This article provides a brief history of sonification, introduces terms, quickly surveys a range of examples, and discusses the past, present, and as-yet unrealized future promise of using sound to expand the way we can communicate about data, broaden the use of auditory displays in society, and make science more engaging and more accessible. (shrink)

The article consists of four chapters taken from a comprehensive study on Wagner.The first chapter discusses the character of the man Wagner. The author undertakes a social analysis which reveals Wagner to be a bourgeois figure who is no longer able to fulfill the monadological claims of bourgeois society, and who actually deserts to the ruling powers while seemingly in conflict with the society of his day. This analysis is made particularly clear through a study of Wagner's anti-Semitism.The following sections, (...) only excerpts of which appear in the present essay, study the relationship between Wagner’s social character and the technical structure of his works, using concepts such as the conductor- composer and the,,gestural type“ of composition. This approach involves minute analyses of certain essential elements of Wagner's technique : the leitmotif, the infinite („unendliche“) melody, his harmonization and scoring.From the principle of Wagner's instrumentation the author derives the concept of phantasmagoria, which is the subject of the sixth chapter of the larger wrork (reprinted here). Phantasmagoria is defined as the aesthetic phenomenon that tends to hide the mode of its genesis and to appear as „nature“.The seventh and eighth chapters have not been included. They deal with the notion of the music drama as the phantasmagoric form, developed primarily from Wagner's theoretical writings, and with the mythical element in his work. The mythical in Wagner is two-sided, for it seeks to interpret the unconscious and in turn to dissolve the real into the unconscious.The two final chapters are devoted to the philosophy inherent in the works of Wagner and to a philosophical interpretation of his work. Chapter nine discusses the Ring from the standpoint of the betrayal of the revolution by the „rebel“. The canon is given by analysis of Wotan as the unity of Impotent old god and beggar. Chapter ten describes Wagner's pessimism. It shows the fundamental difference between Wagner and Schopenhauer, analyzes the Wagnerian concept of the nil as that of the chimaerical, and concludes by „rescuing“ his nihilism as the form adopted by Utopia in the early period of bourgeois decay.L'article se compose de quatre chapitres extraits d’un vaste travail consacré à Richard Wagner.Le premier chapitre étudie la personnalité de Wagner : son caractère est défini comme étant celui du bourgeois désormais incapable de répondre aux exigences monadologiques de la société bourgeoise. L’apparence d’un conflit avec la société masque la soumission de fait aux puissances établies : c’est ce qui est étudié de près dans l’analyse de l’antisémitisme wagnérien.Les chapitres suivants, desquels la présente publication n’offre que des extraits, établissent d’abord — grâce aux concepts du chef d’orchestre et du mode „gestique“ de la composition — le rapport entre le caractère social de Wagner et la complexité technique de son oeuvre. Viennent ensuite des analyses détaillées de quelques éléments essentiels du mode wagnérien de composition, tels que la technique du leitmotiv, de la mélodie infinie, de l’harmonique et de l’instrumentation.Le concept de la fantasmagorie est déduit du principe de l’instrumentation wagnérienne : voilà le thème central du sixième chapitre que notre texte présente, de nouveau, intégralement. La fantasmagorie est définie comme le phénomène esthétique qui renie le mode de sa production.Les chapitres VII et VIII encore, manquent dans la présente publication. Ils traitent du concept du drame musical en tant que forme fantasmagorique. Ce sont surtout les écrits théoriques de Wagner qui servent à développer ce concept. On en vient à examiner l’élément mythique de l’oeuvre wagnérienne — élément équivoque en ce qu’il tend à interpréter l’inconscient en même temps qu’il voudrait le dissoudre dans un inconscient plus profond encore.Les deux derniers chapitres étudient la philosophie inhérente de Wagner, et tâchent de donner une interprétation philosophique de son oeuvre. Le neuvième chapitre donne une analyse du „Ring“ — la trahison de la révolution par le „rebelle“. Le „canon“ du raisonnement est, ici, la figure de Wotan — à la fois vieux dieu rendu impuissant et mendiant. Le chapitre X décrit le pessimisme wagnérien. Il expose la différence fondamentale entre Wagner et Schopenhauer, la reconstruction méthodique du concept wagnérien du néant montre que ce néant est chimérique. La conclusion est, en quelque sorte, une réhabilitation du nihilisme wagnérien en ce que ce nihilisme fut la forme que revêtit l’utopie au début de la décadence bourgeoise. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

단국대 학생들의 교책과목으로 집필된 책.단국대학교의 역사와 한민족의 가치관,미래부터 교육과 인간화까지 전체 15장에 엮었다.

This article represents the author’s reflections on the book by Karl Sigmund “Exact Thinking in Demented Times. The Vienna Circle and the Epic Quest for the Foundations of Science” and the fate of the Vienna Circle. Sigmund paints a vivid portrait of the Vienna Circle against the background of the difficult historical period in which its members lived and worked. The Vienna Circle established the tradition of liberating consciousness and science from metaphysics. But the participants of the Vienna Circle and (...) their entourage did not manage to get rid of the humanistic issues, despite the declaration of strict scientific character. The author of the article draws attention to the internal contradiction between strict scientific topics and the existential-humanistic perception of this topic by the Vienna Circle’s authors and their likeminded people, and by Sigmund himself. The author concludes that it was thanks to this contradiction the Vienna Circle became not only a stage in the development of philosophical science, but also had a broad cultural influence on art, politics, architecture, museums, etc. The historical and philosophical tradition connects the activities of the Vienna Circle with the beginning of the divergence between the philosophical scientific and humanistic traditions in the understanding of philosophy, and the controversy between R. Carnap and M. Heidegger is an important point in this process. But Sigmund’s book gives the impression that this is not the divergence strictly scientific and humanistic traditions, but the difference between two humanistic traditions, one of them tends to express its thoughts strictly analytically. (shrink)

Although Sibawayh dealt with it in a scattered manner under different headings there have been different views on na't (adjective), which is gene-rally included in the tawabi group in Arabic syntax, and there have been debates around these views. Na't, which is categorized as a proper adjective and qualifies the meaning of man'ut (mawsuf), has different characteristics from the sentence elements that indicate the subject. Nahiv scholars have mostly divided na't into two parts: real and causal na't, and they have (...) formulated certain rules for these two parts in accordance with the structure of the Arabic language. Since na't and man'ut are accepted as nouns, the i'rab of na't is subject to men'ut. However, some examples in the Qur'an and some expressions used by the Arabs caused objections to the i'rab of na't being the same as men'ut. It is observed that these objected examples are the cases where men'ut is known and the exceptional cases of madih, zam and jarri jivar. It is also obligatory for the na't to conform to the man'ut in terms of ma'rifiyyah, nekiriyyah, custom and gender. While Sibawayh (d. 180/796) considered it qabh (ugly) for non-propositional words to be na't, scholars such as Ibn Hisham (d. 218/833), Ibn al-Ḥajib (d. 646/1249), and Abd ar-Rahman Jami (d. 898/1492) accepted that na't could be either propositional or non-propositional and cited many examples of na't in the case of non-propositional words. Scholars such as Ibn Jinni (d. 392/1002) and Ibn al-Hajib gave an explanation of the causative na't without naming it, scholars such as Ebu’l-Bekā al-Ukbari (d. 616/1219) analyzed the subject under the title of causative adjective or causative na't, and Halid b. Abdullah al-Azhari discussed it under the title of al-wasf al-majazi. The subject of our study is to examine the handling of na't, which is one of the sentence elements in the Arabic language, in the works written on the field, its parts, the dimension that affects the meaning and the controversial aspects. The aim of the research is to examine the rules that Sibawayh deals with in his al-Kitâb on na'ta and the objections of later Arab linguists to these rules, and to contribute to the field by revealing different views on the subject. (shrink)

The federal government is funding a sea change in health care by investing in interventions targeting social determinants of health, which are significant contributors to illness and health inequity. This funding power has encouraged states, professional and accreditation organizations, health care entities, and providers to focus heavily on social determinants. We examine how this shift in focus affects clinical practice in the fields of oncology and emergency medicine, and highlight potential areas of reform.

This paper makes an attempt to examine the various facets of human values in the background of the widely shared popular beliefs about erosion of values. A random sample of elite opinions on the nature of decline of values brings out the difficulties involved in identifying values for social analysis. Values are an integral part of the religious, spiritual and governmental spheres of social behaviour within a culture. It is argued that the problem of erosion of values is shared across (...) cultures and has existed throughout the history of human society. It is suggested that material and spiritual values follow a dialectical process of coexistence and conflict. The current wave of concern over degeneration of values is explained in relation to the unprecedented complexity of today's global society and the socio-economic challenges posed by this complexity for the individual and the society at various levels. This discussion is followed by a brief review of the recent contributions of social sciences to the concept of values and their decline in modern society. Finally, some thoughts are expressed, from a sociologist's vantage point, regarding the multi-dimensional problem of values in the emerging global culture. (shrink)

Phonetic study of the sound "h" especially as it relates to Mongolian languages.

Symbols enable people to organize and communicate about the world. However, the ways in which symbolic knowledge is learned and then represented in the mind are poorly understood. We present a formal analysis of symbolic learning—in particular, word learning—in terms of prediction and cue competition, and we consider two possible ways in which symbols might be learned: by learning to predict a label from the features of objects and events in the world, and by learning to predict features from a (...) label. This analysis predicts significant differences in symbolic learning depending on the sequencing of objects and labels. We report a computational simulation and two human experiments that confirm these differences, revealing the existence of Feature-Label-Ordering effects in learning. Discrimination learning is facilitated when objects predict labels, but not when labels predict objects. Our results and analysis suggest that the semantic categories people use to understand and communicate about the world can only be learned if labels are predicted from objects. We discuss the implications of this for our understanding of the nature of language and symbolic thought, and in particular, for theories of reference. (shrink)

Functional theories posit that emotions are elicited by particular goal-related situations that represented adaptive problems and that emotions are evolved features of coordinated responses to those situations. Yet little theory or research has addressed the evolutionary aspects of these theories. We apply five criteria that can be used to judge whether features are adaptations. There is evidence that sadness, anger, and anxiety relate to unique changes in physiology, cognition, and behavior, those changes are correlated, situations that give rise to emotions (...) are consistent, and emotions are complex. To date, there is little experimental evidence regarding whether discrete emotions resolve adaptive problems and do so relatively efficiently. Evidence supporting all criteria is required to claim that discrete emotions are evolved features. (shrink)

Ce livre interroge les passages entre dire et chanter, leurs usages, leurs contraintes, les multiples façons dont ils sont nommés et mis en oeuvre, leurs enjeux esthétiques, poétiques, dramaturgiques ou anthropologiques. Il rassemble dix-sept essais comme autant d'études de cas, autour de quatre axes: " Le chant des mots "; " Représentations de la parole et enjeux dramaturgiques "; " Du souffle au cri "; " Voix plurielles et identité ". De multiples états du dit/chanté sont abordés: des manifestations du (...) parlé sur la scène de l'opéra au me siècle au retour actuel de la mélodie parlante orchestrale, des formes vocales exploratoires des années soixante aux modes du chant en poésie, de l'extra-vocalité provocatrice des XXe et XXIe siècles aux musiques rituelles où il n'est plus seulement question de chanter mais aussi de servir avec sa voix. L'ouvrage tient ensemble musicologie, ethnomusicologie et poétique. Il rend compte de structures, de pratiques et de typologies. Les oeuvres étudiées sont entre autres celles de Bernd Aloïs Zimmermann, Jonathan Harvey, Paul Valéry, Jules Massenet, Alban Berg, Claude Debussy, Manuel de Falla, Francis Poulenc, Jean Cocteau, les Beatles, les Pink Floyd, les Who, Helmut Lachenman, Yoshihisa Taïra, Jean-Christophe Marti, Franz Koglmann et aussi des chants liturgiques coptes de Haute-Egypte, de l'Eglise apostolique arménienne d'Istanbul ou encore la musique carnatique d'Inde du Sud. (shrink)