Offers a sustained meditation on the role of interruption in modernity. This book departs from and elaborates an important but overlooked dimension of Walter Benjamin's discourse: the question of style as it bears upon temporality and spatiality. This work suggests that the time has come to revise existing paradigms.

philosophers have been largely indifferent to questions about their own means of expression. It is as though they had tacitly established a distinc- tion between form and matter, and had also asserted an order of priority between them: the "matter" was what they would deal with-the form of its expression being an accidental feature of the acts of conception and communication. To be sure, there is a method, or at least a dogma, behind this inclination.

As far as we are aware, this study presents the first comparative analysis of the stock picking and market timing abilities of managers of conventional and socially responsible (SR) pension funds, and of their use of superior information. For the United Kingdom, the results obtained show a slight stock picking ability on the part of SR pension fund managers (although it disappears if multifactorial models are considered), and a negative market timing ability on the part of both SR (...) and conventional pension fund managers (these results hold for multifactorial models controlled by home bias). In relation to the management styles, both conventional and SR pension funds usually invest in small cap and growth values, although it is the SR pension funds that are the most exposed to these styles. We also observed that, while conventional pension fund managers make certain use of superior information to follow stock picking strategies, managers of SR pension funds use superior information to follow market timing strategies. (shrink)

This study introduces refutation-aware Gentzen-style sequent calculi and Kripke-style semantics for propositional until-free linear-time temporal logic. The sequent calculi and semantics are constructed on the basis of the refutation-aware setting for Nelson’s paraconsistent logic. The cut-elimination and completeness theorems for the proposed sequent calculi and semantics are proven.

The present paper deals with the philosophical styles of the hermeneutic project and deconstruction and tries to answer the question whether there really is, as Derrida argues, a fundamental difference, even an opposition between them. In this sense, taking the questions Derrida addressed Gadamer in their famous Paris encounter in 1981 as a clue, the author retraces the fundamental articulations of deconstruction, descending from Derrida's own description of the idea to his actual deconstructive practice, and shows that the presupposition Derrida (...) takes as separating the hermeneutic project from deconstruction is actually one these two share in common. (shrink)

We know we have thoughts, but are we aware that we have styles of thought? This book, written by one of the most gifted and celebrated social thinkers of our time, is a contribution to understanding the rules of the different styles of thinking. Author Mary Douglas takes us through a range of thought styles from the vulgar to the refined. Throughout this fascinating journey, Thought Styles shows us how the different styles work and how outsiders can learn the styles (...) of insiders. The discussion ranges from the style of folklore to the styles of therapy, shopping, religion, and animal rights. The result is a book full of insight. Readers will find themselves thinking in new ways about the mechanics of communication in everyday life. Professionals and researchers in sociology, communication, and anthropology will especially appreciate this auspicious new book. (shrink)

Sells encourages a radical departure from the usual introspection and self-centeredness of psychology in our time. By placing style first, Sells argues that we must turn our eyes and minds outward to the greater world. Emphasizing beauty over emotion and appreciation over feeling, he attempts to break the stranglehold of the self so as to reconstitute our proper place among the many things of the world.

Individual differences in emotional reactivity or affective style can be decomposed into more elementary constituents. Several separable of affective style are identified such as the threshold for reactivity, peak amplitude of response, the rise time to peak and the recovery time. latter two characteristics constitute components of affective chronometry The circuitry that underlies two fundamental forms of motivation and and withdrawal-related processes-is described. Data on differences in functional activity in certain components of these are next reviewed, with an (...) emphasis on the nomological network of surrounding individual differences in asymmetric prefrontal The relevance of such differences for understanding the nature affective dysfunction in affective disorders is then considered. The ends by considering what the prefrontal cortex “does” in certain of affective style and highlights some of the important questions for future research. (shrink)

In this paper, we propose Kripke-style models for the logics of evidence and truth LETJ and LETF. These logics extend, respectively, Nelson’s logic N4 and the logic of first-degree entailment with a classicality operator ∘ that recovers classical logic for formulas in its scope. According to the intended interpretation here proposed, these models represent a database that receives information as time passes, and such information can be positive, negative, non-reliable, or reliable, while a formula ∘A means that the information (...) about A, either positive or negative, is reliable. This proposal is in line with the interpretation of N4 and FDE as information-based logics, but adds to the four scenarios expressed by them two new scenarios: reliable information for the truth and for the falsity of a given proposition. (shrink)

This book is an attempt to get to the bottom of an acute and perennial tension between our best scientific pictures of the fundamental physical structure of the world and our everyday empirical experience of it. The trouble is about the direction of time. The situation (very briefly) is that it is a consequence of almost every one of those fundamental scientific pictures--and that it is at the same time radically at odds with our common sense--that whatever can happen can (...) just as naturally happen backwards. Albert provides an unprecedentedly clear, lively, and systematic new account--in the context of a Newtonian-Mechanical picture of the world--of the ultimate origins of the statistical regularities we see around us, of the temporal irreversibility of the Second Law of Thermodynamics, of the asymmetries in our epistemic access to the past and the future, and of our conviction that by acting now we can affect the future but not the past. Then, in the final section of the book, he generalizes the Newtonian picture to the quantum-mechanical case and (most interestingly) suggests a very deep potential connection between the problem of the direction of time and the quantum-mechanical measurement problem. The book aims to be both an original contribution to the present scientific and philosophical understanding of these matters at the most advanced level, and something in the nature of an elementary textbook on the subject accessible to interested high-school students. Table of Contents: Preface 1. Time-Reversal Invariance 2. Thermodynamics 3. Statistical Mechanics 4. The Reversibility Objections and the Past-Hypothesis 5. The Scope of Thermodynamics 6. The Asymmetries of Knowledge and Intervention 7. Quantum Mechanics Appendix: Gedankenexperiments with Heat Engines Index Reviews of this book: The foundations of statistical mechanisms are often presented in physics textbooks in a rather obscure and confused way. By challenging common ways of thinking about this subject, Time and Chance can do quite a lot to improve this situation. --Jean Bricmont, Science Albert is perfecting a style of foundational analysis that is uniquely his own...It has a surgical precision...and it is ruthless with pretensions. The foundations of thermodynamics is a topic that has accumulated a good deal of dead wood; this is a fire that will burn and burn. --Simon W. Saunders, Oxford University As usual with Albert's work, the exposition is brisk and to the point, and exceptionally clear...The book will be an extremely valuable contribution to the literature on the subject of philosophical issues in thermodynamics and statistical mechanics, a literature which has been thin on the ground but is now growing as it deserves to. --Lawrence Sklar, University of Michigan. (shrink)

This article outlines a philosophy of science in practice that focuses on the engineering sciences. A methodological issue is that these practices seem to be divided by two different styles of scientific reasoning, namely, causal-mechanistic and mathematical reasoning. These styles are philosophically characterized by what Kuhn called ?disciplinary matrices?. Due to distinct metaphysical background pictures and/or distinct ideas of what counts as intelligible, they entail distinct ideas of the character of phenomena and what counts as a scientific explanation. It is (...) argued that the two styles cannot be reduced to each other. At the same time, although they are incompatible, they must not be regarded as competing. Instead, they produce different kinds of epistemic results, which serve different kinds of epistemic functions. Moreover, some scientific breakthroughs essentially result from relating them. This view of complementary styles of scientific reasoning is supported by pluralism about metaphysical background pictures. (shrink)

Version 4.4 October, 1994 Introduction When explaining human behavior, anthropologists frequently distinguish the things that people do of their own free will from the things they do because they have to. In much of anthropology, and most American archaeology, this is the difference between style and function. Functional behaviors are the things people are constrained to do; stylistic behaviors are the things people do when unconstrained. Where necessity stops and free choice begins is, of course, a classic problem of (...) social science theory, but wherever the boundary is placed, it is generally implied that the domains thus divided are not of equal importance (Bettinger 1991:49-50). Few straddle this fence: Materialists emphasize function and downplay style; structuralists and postmodernists do the opposite. Recent attempts to apply neo- Darwinian concepts to the archaeological record predictably side with materialist tradition, repeating the premise that it is most important to explain functional behavior; stylistic behavior is interesting only for localizing social units in time and space. (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)

The art historian Aby Warburg articulated his theory of emotive formulas around 1905, at the same time that the Romanist Karl Vossler developed his Neo-Idealist philology. Working independently, each used the linguist Herman Osthoff's theory of suppletion to conceptualize style. Each saw in suppletion a means of describing style formation as a radical break with convention. With linguistics as a model, each found stylistics to entail complexities that earlier theories had elided. Although linguistics did not prove an ideal (...) methodological fit, it brought stylistic analysis to the forefront of art history and Romance philology. (shrink)

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

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)

To this day I still do not know exactly what sort of people are to be regarded as intellectuals, and what sort of people are not. When I was being re-educated in the countryside during the Cultural Revolution, a military representative once told me that I was a "petty bourgeois intellectual." I was only seventeen at the time, had received six years of primary school education, and was barely literate, so I felt I did not deserve to be called an (...) intellectual. By the way, I also felt I did not deserve the appellation "petty bourgeois." My family lived on wages from the government; even our furniture belonged to the government. We had not set up a stall to sell cigarettes in front of our house, so where did he get the term "petty bourgeois"? As for myself as an individual, it was only right and proper that I should belong to one social class or another, and I was not against doing so. However, to this day, I do not know in what class intellectual youths should be counted. In my opinion, if one insists on making comparisons or analogies, they should be counted as lumpen proletarians or the like. But this is taking the subject too far. (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)

How does material culture matter for institutions? Material objects are increasingly prominent in sociological research, but current studies offer limited insight for how material objects matter to institutional processes. We build on sociological insights to theorize aesthetic style, a shared pattern of material object presence and usage among a cluster of organizations in an institutional field. We use formal relational methods and a survey of material objects from religious congregations to uncover the aesthetic styles that are part of the (...) “logics of god” in the United States’ Christian religious field. We argue aesthetic styles help structure an institutional field by spanning objects’ meanings across space and time, stabilizing objects’ authority, and demarcating symbolic boundaries. Our research provides a conceptual tool for understanding how objects bridge the material and symbolic dimensions of institutions and a methodological example for examining the meaning of objects across numerous organizations in an institutional field. (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)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, (...) in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

The question, How is style possible? assumes the existence of style and sufficient evidence for this assertion, as well as for determining what it means, appears in the talk about style, in the deployment of stylistic categories. That talk extends in common usage to such attenuated references as styles in dress, styles of social exchange, life-styles. To limit the discussion, I speak here primarily of artistic style, but it will be clear that the ramifications of the (...) argument extend beyond the arts, indeed beyond style as well. When we pursue this line of inference, the practical question of what the use or function of stylistic analysis is plays a controlling role and in effect sets a dialectic in motion. For if, as I suggest, there is a stopping short in the first—adverbial or instrumental—model of style and an amending completeness in the first—verbial or transitive—model, that difference starts from their respective conceptions of the function which stylistic analysis and finally style itself serve. It is important, then, to keep the question of function in mind, to allow it to spend its own force; that question serves, in fact, as a mediating link between the appearance of style and the discourse about it, on the one hand, and the final question of how style is possible, on the other. The two models of style to be described differ explicitly on the last of these points, and they differ at least tacitly in their conception of the mediating link, the question of the function or use of style. Those differences in turn make a practical difference even in the immediate description of particular styles. Berel Lang, whose "Space, Time, and Philosophical Style" appeared in the Winter 1975 issue of Critical Inquiry, is professor of philosophy at the University of Colorado, the author of Art and Inquiry, co-editor of Marxism and Art: Writings in Aesthetics and Criticism, and the editor of The Concept of Style. "Style as Instrument, Style as Person" is part of Person and Representation: The Intentions of Style. (shrink)

Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and Chinese style appear. (...) Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works. (shrink)

In the historiography of the relationship between technology and theoretical science, electrical communication plays an important role. It was by means of mathematical reasoning based on the new theory of electromagnetism that it was first understood how to extend the range of telephony by inserting self-inductance in the line. This paper surveys developments from around 1880 to 1910, at a time when ‘pupinization’ had become a reality and mathematical physics an accepted part of the research strategy of a few advanced (...) companies in the electrical industry. It presents the confrontation of two different styles of engineering science, on the one hand there was the empirical approach and on the other an approach more mathematical in nature. This paper offers some reflections on the nature of ‘counterintuitive technologies’ and the general relationship between science, engineering and technology. (shrink)

The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, (...) in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

Marrying lyrical close reading with critical awareness, Novel Style argues for the ethical value of elaborate styles of writing and demonstrates that artistic excessiveness can provide dynamic responses to the moral complexities of our times.

The relationship between formal logic and general philosophy is discussed under headings such as A Re-examination of Our Tense-Logical Postulates, Modal Logic in the Style of Frege, and Intentional Logic and Indeterminism.

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)

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)

Extant research notes a tendency to propound the idea that female managers are secondary to men. Gender differences constitute an ethical issue and the discursive constructions of gender management are central to research in business ethics. Drawing on evidence gathered from a time–space intersection that has been widely neglected by research in this area, we address whether female business leaders develop gender-stereotypic management styles as well as their propensity to adopt masculine management patterns such as making risky decisions and implementing (...) formal management systems. Our findings suggest that gender-stereotypic management styles are chosen strategically and target-driven, which implies a selective use of masculine and feminine management styles. Furthermore, as part of the masculine approach, female business owners adopt risk-taking decisions and implement formal management systems. Our results provide support for the argument that gender is context dependent and, hence, the findings of this study may be useful for contemporary jurisdictions featuring male-dominated societies and a strong intervention by the State in the economy. (shrink)

The Principle of Alternative Possibilities is the intuitive idea that someone is morally responsible for an action only if she could have done otherwise. Harry Frankfurt has famously presented putative counterexamples to this intuitive principle. In this paper, I formulate a simple version of the Principle of Alternative Possibilities that invokes a course-grained notion of actions. After warming up with a Frankfurt-Style Counterexample to this principle, I introduce a new kind of counterexample based on the possibility of time travel. (...) At the end of the paper, I formulate a more sophisticated version of the Principle of Alternative Possibilities that invokes a certain fine grained notion of actions. I then explain how this new kind of counterexample can be augmented to show that even the more sophisticated principle is false. (shrink)

Working women in the Caribbean and Latin America are more active in the labor market than their counterparts in most other regions of the world. Yet, they remain much less economically mobile than working men. Using research from a long-term study in Martinique, this article offers a new view of the cross-class construction of women's economic immobility. Research results suggest that irrespective of a woman's socioeconomic status, household structure, education, skills, or freedom from domestic chores, the organization of her work (...) is patterned in ways that preclude economic growth. When women try to “get ahead,” they invest more of their own time; men, by contrast, put others to work. I argue that these and other gender-based patterns of work organization and network management express a hidden but enduring legacy of a patriarchal value system. (shrink)