This chapter contains sections titled: Gugliemo's Non‐Participation in the Canon Respecting and Transforming Conventional Operatic Structure Musical and Dramatic Structure in Così Fan Tutti.

ABSTRACT This article considers Albanian subjects in European operas of the eighteenth and early nineteenth century, discussed in the context of the broader phenomenon of operas about Ottoman Turkish subjects and also with regard to more general European cultural perspectives on Albania and the Ottoman empire. The principal operas discussed include Antonio Vivaldi’s Scanderbeg, performed in Florence in 1718; a completely different treatment of that subject, Scanderberg composed by François Francoeur and François Rebel for Paris in 1735 and revived in (...) 1763; Mozart’s Cosi fan tutte, with its mock-Albanians, composed for Vienna in 1790; and Albert Lortzing’s Ali Pascha von Janina, performed in Münster in 1828. The article discusses how issues of Ottoman despotism on the operatic stage intersected with musical and dramatic representations of the subject peoples of the Ottoman empire, especially the Albanians. The eighteenth-century Skanderbeg operas are particularly interesting for reflecting on the ways that Albanians were distinguished from Turks and the ways in which they resembled Turks on the operatic stage. This study of operas about Ottoman Albanians further contributes to understanding the complexity of perspectives on the Ottoman empire in the Enlightenment. (shrink)

This paper provides a reading of the opera criticism of Bernard Williams in the light of his philosophical writings. Beginning with the observations that his philosophical writing lacks engagement with musical and aesthetic issues, and his operatic writing appears to present no particular philosophy of the subject, I try to draw together certain themes by mapping Williams's operatic concerns onto his philosophical project more generally. I argue that the 'excessive' nature of the artform—the idea that opera tends to exceed (...) its musico-dramatic functions—was of particular interest to Williams, partly because it resonated with his dislike of easy theoretical solutions to thorny practical issues. More specifically, Mozart's Cosi fan tutte is related, via the way the way its emotional register exceeds its dramatic context, to the issues examined by Williams in his work on moral luck. Similarly, I discuss the way Williams's essay on Debussy's Pelléas et Mélisande seems to hint at an account of the emotions which is otherwise missing from Williams's oeuvre. (shrink)

Plato did not allow many artists and poets into his Utopia Republic because of their bad and misleading influence on the young. But it seems that he learned storytelling and narrating from them and concealed what he learned beneath his philosophy. Thus, Plato's dialogues became more effective and gained aesthetic and artistic qualities. Theaetetus, one of the best known dialogues of Plato, is a conversation and discussion about episteme. Due to using classical dramatic structure, this dialogue is the (...) most important dialogue with regard to dramatization of philosophical thoughts. The goal of this article is to study the dramatic structure of Plato's dialogues and show its potentials for interaction with narrative theories. It could be said that Plato's dialogues have many resemblances to the Greek drama and, today, we can call Plato a playwright. Thus, it is important and necessary to reread and reevaluate Plato's works via narratological view. (shrink)

It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, (...) basically, is that whereas the sophisticated listener to the absolute music repertory is keenly, consciously aware of the inner structure, the sophisticated reader of fictional narrative, the principal exemplar being the novel, is not so aware. Therefore, whereas musical structure directly contributes to aesthetic satisfaction, narrative structure contributes only indirectly (which is not to deny that, at times, the reader is consciously aware of narrative structure, and that, at such times, it does contribute directly to aesthetic satisfaction). (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about (...) the leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy community, (...) the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

Porter’s five forces model is an authoritative management tool used in analyzing the profitability and attractiveness of industries through an outside-in viewpoint. In the past decade, dramatic and rapid changes have prompted some criticism of the model. The comparison between new and old economy analysis makes the fundamentals of the model seem weak. Moreover, the past decade has shown that strategy and entrepreneurship in China are not completely dependent on the model. This study first aims to verify the sustainability (...) of the five forces model and analyze its integration into China’s entrepreneurial economy. By conducting in-depth interviews among the upper echelons from various industries, it was found that along with the competitive factors emphasized by the model, Chinese entrepreneurs attend to cooperative factors such as Guanxi, the Chinese term for relationship, and the possibilities of technology integration with the five forces. They also tend to enlarge the strategic view to consider factors such as how the market evaluates the forces. To verify these findings, the authors carried out a large-scale survey with a modified questionnaire analyzing the data collected using exploratory factor analysis with SPSS 22. The outcome shows that Porter’s model is still valid to some extent. Companies are still working in a network of buyers, suppliers, substitutes, new entrants, and competitors. However, reinventions are necessary to include the new factors of Guanxi, technology, and marketing and branding, which have changed the structure of the industry. These factors arise from the cooperative nature of Chinese culture and may have equal or even larger significance compared with their competitive counterparts in today’s business world. (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, and (...) sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

In philosophy of music, formalists argue that pure instrumental music is unable to represent any content without the help of lyrics, titles, or dramatic context. In particular, they deny that music’s use of convention counts as a genuine case of representation because only intrinsic means of representing counts and conventions are extrinsic to the sound structures making up music. In this paper, I argue that convention should count as a way for music to genuinely represent content for two reasons. (...) First, the view that only intrinsic ways of representing counts is too stringent. If use can ground meaning in language, then use might also ground meaning (and representation) in music, too. Second, even if we were to insist on intrinsic features, convention should count as a way for music to genuinely represent because convention is an intrinsic feature of music. Without knowledge of musical systems and encultured listening, music wouldn’t even be recognized as music, so convention is already baked into our listening practices. (shrink)

Acknowledging the powerful impact that Plato's dialogues have had on readers, Jill Gordon shows how the literary techniques Plato used function philosophically to engage readers in doing philosophy and attracting them toward the philosophical life. The picture of philosophical activity emerging from the dialogues, as thus interpreted, is a complex process involving vision, insight, and emotion basic to the human condition rather than a resort to pure reason as an escape from it. Since the literary features of Plato's writing are (...) what draw the reader into philosophy, the book becomes an argument for the union of philosophy and literature—and against their disciplinary bifurcation—in the dialogues. Gordon construes the relationship of Plato's text to its audience as an analogue of Socrates' relationship with his interlocutors in the dialogues, seeing both as fundamentally dialectic. On this insight she builds her detailed analysis of specific literary devices in chapters on dramatic form, character development, irony, and image-making. In this way Gordon views Plato as not at all the enemy of the poets and image-makers that previous interpreters have depicted. Rather, Gordon concludes that Plato understands the power of words and images quite well. Since they, and not logico-deductive argumentation, are the appropriate means for engaging human beings, he uses them to great effect and with a sensitive understanding of human psychology, wary of their possible corrupting influences but ultimately willing to harness their power for philosophical ends. (shrink)

While theater and film are distinct art forms, their interaction through dramatic structure and narrative technique reveals deep philosophical and theological dimensions. This paper explores the complex, non-linear relationship between cinematic narrative techniques—such as choreography and plot twists—and the dramatic structures in theatre, including retrospective, open-ended, and character-focused narratives. We hypothesize a significant non-linear interplay and validate this through a model that analyzes variance and mean scores across diverse narrative films, with statistical significance established at P.

ObjectiveThis study aimed to investigate the morphometric alterations in the cortical and subcortical structures in multiple system atrophy patients with mild cognitive impairment, and to explore the association with cognitive deficits.MethodsA total of 45 MSA patients and 29 healthy controls were recruited. FreeSurfer software was used to analyze cortical thickness, and voxel-based morphometry was used to analyze the gray matter volumes. Cortical thickness and gray matter volume changes were correlated with cognitive scores.ResultsCompared to healthy controls, both MSA subgroups exhibited widespread (...) morphology alterations of brain structures in the fronto-temporal regions. Direct comparison of MSA-MCI and MSA-only patients showed volume reduction in the left superior and middle temporal gyrus, while cortical thinning was found in the left middle and inferior temporal gyrus in MSA-MCI patients. Cortical thinning in the left middle temporal gyrus correlated with cognitive assessment and disease duration.ConclusionStructural changes in the brain occur in MSA-MCI patients. The alteration of brain structure in the left temporal regions might be a biomarker of cognitive decline in MSA-MCI patients. (shrink)

This chapter on Mozart’s opera Così fan tutte (“Thus Do They All”) offers a discussion of a number of topics covered by other chapters—the portrayal of fictional characters, mixed motivation, promise keeping, the influence of character, and situational variables, respectively, in determining behavior and individual differences among people. Così’s libretto is about two couples who swap partners. Così is typically seen as a character-swapping farce, with one-dimensional characters. The chapter quotes Peter Kivy, according to whom the heroes (...) and heroines are not even real characters—rather, they are voices: the soprano, the mezzo-soprano, the heroic tenor, and so on. The chapter, however, makes a compelling case that this is not so. The opera has a moral seriousness often overlooked by interpreters due to lack of attention to the individual differences among the characters and to character development. (shrink)

The metaphor of the labyrinth in the second half of the XX century becomes an iconic model of the postmodern world order. In musical culture, the phenomenon of the labyrinth has acquired the meaning of a symbol of intertextuality, a game with cultural codes and musical heritage of the past, multivariance, variability, uncertainty. The ballet "Labyrinths" by Alfred Schnittke is an example of the embodiment of the labyrinth paradigm and is the object of research. The subject of the (...) study is the peculiarity of the implementation of the idea of the labyrinth at the compositional and dramatic level of the ballet cycle. In the light of the author's individual interpretation, the labyrinth model takes the form of a "macrolabirint" and a "microlabiint", where the macrostructure is the construction of the whole, and the microstructure is the last, fifth part. The novelty of the research lies in the consideration of the compositional and dramatic features of the ballet "Labyrinths" in the context of the metaphor of the labyrinth. The concept of the "macrolabyrint" contributed to the relief display of the principles of symmetry and centralization inherent in the labyrinth of the classical Cretan type. Symmetry in the ballet cycle found expression in the structure of the extreme parts, in their author's division into sections, the presence of a reprise in Maestoso and Meno mosso, a single tonal organization interspersed with modal episodes, the assertion of the third c–e in the intonation system of the parts. Centralization of the Cretan labyrinth was reflected in the endowment of the fourth part with the properties of the culmination point, characterized by an increase in sonorous qualities, an abundance of cluster verticals, and heterogeneous stratified tissue. The concept of "microlabirint" contributed to the depiction of the multivariance of the maze-confusion in the fifth part of the ballet. The nonlinear movement of the characters along the branched labyrinth model was carried out by the interaction of contrasting sections correlated with deviation into various emotional states. The conducted research allowed us to conclude about a new interpretation of the labyrinth paradigm in ballet in the light of Schnittke's individual author's handwriting. (shrink)

The characters in Plato's Socratic Dialogues and the sociocultural beliefs and assumptions they present have a historical dramatic setting which ranges over the last quarter of the fifth centuryb.c.—the period of activity of the historical Socrates. That this context is to an extent fictional is undeniable; yet this leaves open the question what the dramatic interplay of (mostly) dead politicians, sophists, and other Socratic associates—not forgetting Socrates himself—signifies for the overall meaning and purpose of individual Dialogues. Are we (...) to assume, with a recent study, that Plato is entirely concerned with his contemporary world and is, as it were, borrowing his characters from the fifth century, or does the fiction reveal something of his real involvement in the values and debates of the recent past? The aim of this paper is to argue that a detailed study of the characterization and dramatic structure of one particular Dialogue,Laches, strongly suggests that Plato is using a perceived tension between past and present to generate not only a philosophical argument but also a commentary on the cultural and political world of late fifth-century Athens and in particular Socrates’ position within it. (shrink)

The twentieth century was a time of dramatic change in the structure, language, and aesthetic purpose of music. Numerous factors came together that led the musical avant-garde toward new artistic paths such as atonality and aleatoricism (use of chance elements) in music, and a shift in the idea of what music should portray away from beauty toward truth, or from idealized to actualized. If the arts are a reflection of the philosophical and aesthetic spirit of the times, (...) then an examination of prominent philosophical and aesthetic regimes of the time should reveal changes that facilitated the aesthetic and artistic innovations of the era. This article will examine the relationship between the philosophical and aesthetic writings of Henri Bergson and the affinities, and in some cases influences, they had on the development of two of the major musical innovations of the twentieth century. Specifically, Arnold Schoenberg's development of atonal compositional technique results partially from Bergson's focus on knowledge as a conveyor of truth, and John Cage's cultivation of aleatoricism as a compositional process arises out of Bergson's critique of nothingness as stated in Creative Evolution. (shrink)

The basic aim of this research study is to describe the Applications of the fusion of aesthetic philosophy and practical philosophy in film and television music production. This research study depends upon primary data analysis for measuring the research study to generate different questions related to the aesthetic philosophy and practical philosophy to determine the research study used smart PLS and run different results related to the variables. Modern philosophy of art includes the philosophy of film as a well-established subfield. (...) Although philosophers were among the first academics to write studies of the new art form in the early decades of the twentieth century, the area did not enjoy considerable development until the 1980s, when a resurgence began. The rapid expansion of this sector can be attributed to a wide variety of factors. Let it be enough to state that the evolution of philosophy as a discipline and the growing importance of cinema in popular culture has made it crucial for philosophers to view the film as an art form on par with literature, music, and the visual arts. The overall research study found that there are negative and some positive relations between aesthetic philosophy and practical philosophy in music production. The result found that significant relationship between aesthetic philosophy and practical philosophy in film and television. (shrink)

Volume 1 -- Unit 1: Tragedy as an independent art of musical drama. Chapter 1: Plato's well-educated men, the dancers: Harmonia kai rhuthmos as "music and dance" -- Chapter 2: Tragedy as a necessarily performed "musical" art in the Poetics -- Chapter 3: The irreducibility of tragedy to literature -- Chapter 4: Harmonia kai rhuthmos as "music and dance" in Politics VIII.

This paper aims to examine the place of the dramatic in the Anthropological Structures of the Imaginary, through a comparative approach between this work and two others : Les Concepts fondamentaux de poétique and Les Deux cent mille situations dramatiques, in order to consider another possible order for the sequence of the structures proposed by Gilbert Durand, although the author declared in a note that he did not choose to follow « the ontogenetic plane of the emergence of dominant (...) reflexes ». (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

Parental participation has gained significant attention in environmental psychology, which has revealed a need for an instrument that can measure parental participation with children regarding environmental issues. The present study met this need by validating the parental participation in the environment (PPE) scale. This process began with 45 Chinese parents participating in an individual interview and group discussions, which helped generate a list of eighteen parent-child environmental activities. The activities were then modified and validated in the current study with a (...) diverse group of 969 parents recruited from six major Chinese cities. Both score structure evidence and generalizability evidence were obtained within this sample, and psychometric tests suggested a single factor construct with nine items. Once the PPE scale was revised, it showed measurement invariance across the parent who responded to the items (mother vs. father), across the child’s primary caregiver (mother vs. father vs. grandparent), across the family’s living region (North China vs. South China), as well as across the family’s income group. Finally, evidence based on relations to other variables showed a relationship among parents’ PPE, pro-environmental behavior, and connectedness with nature. As a result, the study provided a novel measure to assess pro-environmental socializationviaparental participation. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also (...) the emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)

Bird songs often display musical acoustic features such as tonal pitch selection, rhythmicity, and melodic contouring. We investigated higher-order musical temporal structure in bird song using an experimental method called “music scrambling” with human subjects. Recorded songs from a phylogenetically diverse group of 20 avian taxa were split into constituent elements and recombined in original and random order. Human subjects were asked to evaluate which version sounded more “musical” on a per-species basis. Species identity and stimulus (...) treatment were concealed from subjects, and stimulus presentation order was randomized within and between taxa. Two recordings of human music were included as a control for attentiveness. Participants varied in their assessments of individual species musicality, but overall they were significantly more likely to rate bird songs with original temporal sequence as more musical than those with randomized temporal sequence. We discuss alternative hypotheses for the origins of avian musicality, including honest signaling, perceptual bias, and arbitrary aesthetic coevolution. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...) an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in the (...) Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition. (shrink)

Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, (...) ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι. (shrink)

This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment-by-moment character of musical listeners’ basic musical understanding, and the related project of anti-architectonicism, which denies the influence of large-scale music-structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti-architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well (...) as his three “intuitions for concatenationism” all point toward important features of musical understanding, it is argued that none of them supports the anti-architectonicist thesis in the intended manner. Furthermore, the way Levinson relates both musical understanding and musical value to a notion of aural cogency renders it difficult to see how one could understand music that one does not value or value music that one cannot understand. It is argued that the anti-architectonicist focus of Levinson's project, together with the ensuing argumentative problems, follows from methodological commitments that might be overcome within disciplinary frameworks beyond philosophy. Suggestions are given for developing a positive concatenationism both in musicology and in philosophical aesthetics. (shrink)

Intra-organization and inter-organization collaboration and governance are becoming increasingly important for megaprojects. Different stakeholders form intricate links in a network structure. This study explores the role and effect of hybrid governance on complex network projects, such as urban rail transit projects. This included conducting a questionnaire survey with 116 professionals from organizations involved in urban rail transit projects and adopting structural equation modelling to analyze the data. The results analyzed the levels of intra-organization and inter-organization trust under the conditions (...) of power asymmetry and power sharing. A higher level of power asymmetry was associated with lower hybrid governance performance. In contrast, a higher level of power sharing is associated with better hybrid governance performance. The results are generalizable to other projects with complicated organizational and network relationships. (shrink)

In this paper we prove that three of the main propositional logics of dependence, none of which is structural, are structurally complete with respect to a class of substitutions under which the logics are closed. We obtain an analogous result with respect to stable substitutions, for the negative variants of some well-known intermediate logics, which are intermediate theories that are closely related to inquisitive logic.

Given the significance of teachers’ professional success in the adequacy of education, exploring the determinants of this variable appears crucial. To address this need, this inquiry inspected the role of well-being and emotion regulation in Chinese EFL teachers’ professional success. For this purpose, 357 Chinese EFL teachers were selected to answer three pre-designed questionnaires. Structural equation modeling using Smart-PLS was implemented to analyze teacher participants’ responses. The structural model revealed a strong, favorable connection between well-being, emotion regulation, and professional success. (...) The model also demonstrated that both well-being and emotion regulation were highly influential in Chinese EFL teachers’ professional success. The potential implications for EFL teachers, teacher educators, and educational authorities are further discussed. (shrink)

Around the middle of the eighteenth century, the leading figures of the French Enlightenment engaged in a philosophical debate about the nature of music. The principal participants-Rousseau, Diderot, and d'Alembert-were responding to the views of the composer-theorist Jean-Philippe Rameau, who was both a participant and increasingly a subject of controversy. The discussion centered upon three different events occurring roughly simultaneously. The first was Rameau's formulation of the principle of the fundamental bass, which explained the structure of chords and their (...) progression. The second was the writing of the Encyclopédie, edited by Diderot and d'Alembert, with articles on music by Rousseau. The third was the "Querelle des Bouffons," over the relative merits of Italian comic opera and French tragic opera. The philosophes, in the typical manner of Enlightenment thinkers, were able to move freely from the broad issues of philosophy and criticism, to the more technical questions of music theory, considering music as both art and science. Their dialogue was one of extraordinary depth and richness and dealt with some of the most fundamental issues of the French Enlightenment. In the newly revised edition of Music and the French Enlightenment, Cynthia Verba updates this fascinating story with the prolific scholarship that has emerged since the book was first published. Stressing the importance of seeing the philosophes' writings in context of a dynamic dialogue, Verba carefully reconstructs the chain of arguments and rebuttals across which Rousseau, D'Alembert, and Diderot formulated their own evolving positions. A section of key passages in translation presents several texts in English for the first time, recapturing the tenor and tone of the dialogue at hand. In a new epilogue, Verba discusses important trends in new scholarship, tracing how scholars continue to grapple with many of the same fundamental oppositions and competing ideas that were debated by the philosophes in the French Enlightenment. (shrink)

In the context of China’s supply-side structural reform and the concept of green development, we introduce the energy and environmental factors into the analytical framework of the total factor productivity of the logistics industry and use the Global Malmquist–Luenberger index method to analyze the evolution trend and heterogeneity of green TFP in the logistics industry of 30 provinces in China from 2003 to 2017. The results show that, firstly, the green TFP and traditional TFP of China’s logistics industry are both (...) on the rise and the absence of energy and environmental factors will lead to the overestimation of TFP of the logistics industry. Whether it is green TFP or traditional TFP, the main source of its growth is technical progress. Secondly, there is obvious regional heterogeneity in green TFP of logistics industry. Under the three regional division standards, the average annual growth rate of green TFP is from high to low in the order of eastern, western, and central regions. Under the eight regional classification standards, the eastern coastal economic zone, the southern coastal zone, the northern coastal zone, the northeast region, the middle reaches of the Yellow River, the southwest region, the middle reaches of the Yangtze River, and the northwest region are in order from high to low. Thirdly, there is obvious interprovincial heterogeneity in green TFP of the logistics industry. The highest growth rate of green TFP is in Zhejiang, followed by Jiangsu and Guangdong, and the slowest growth rate is in Chongqing. The technical progress of logistics industry in most provinces contributes more to the growth of green TFP. Fourthly, the differences of green TFP in the three regions of the east, center, and west are shrinking, which may be σ convergence, but the differences among the three regions are expanding. Compared with the existing literature, this paper applies the measurement framework of green TFP to China’s logistics industry and investigates the regional and provincial heterogeneity of green TFP in logistics industry. The conclusions are significant to understand and grasp the heterogeneity of green TFP growth in China’s logistics industry under environmental constraints and how to promote the development of green logistics in China. (shrink)

Musical Platonists identify musical works with abstract sound structures but this implies that they are not created but only discovered. Jerrold Levinson adapts Platonism to allow for creation by identifying musical works with indicated sound structures. In this paper I explore the similarities between Levinson's view and Kit Fine's theory of qua objects. Fine offers the theory of qua objects as an account of constitution, as it obtains, for example, between a statue and the clay the statue (...) is made out of. I argue that Fine's theory does not adequately characterize the constitution relation and that the problems it faces extend to Levinson's account of musical works as indicated structures. I develop an alternative theory of constitution, based on the notion of being made out of. This approach to constitution enables me to offer an account of musical works as abstract objects that are constituted by sound structures. I argue that my account has several advantages over the Levinson/Fine approach. (shrink)

Prior studies report that the business group structure and the associated intra-group capital flows are prone to conflicts of interest between controlling shareholders and minority investors. Yet business group is a prevalent and stable structure around the globe, particularly where capital markets are underdeveloped. Using data from China, this paper empirically studies the trade-off between the negative and positive roles played by intra-group capital flows and tests the efficiency implications of such trade-off. We find that from the perspective (...) of the whole group, intra-group capital flows are most efficient when the groups are least subject to conflicts of interest between controlling shareholders and minority shareholders and when they face strong external financing constraints. (shrink)

A novel fuzzy control scheme with adaptation algorithms is developed for robot manipulators’ system. At the beginning, one adjustable parameter is introduced in the fuzzy logic system, the robot manipulators system with uncertain nonlinear terms as the master device and a reference model dynamic system as the slave robot system. To overcome the limitations such as online learning computation burden and logic structure in conventional fuzzy logic systems, a parameter should be used in fuzzy logic system, which composes fuzzy (...) logic system with updated parameter laws, and can be formed for a new fashioned adaptation algorithms controller. The error closed-loop dynamical system can be stabilized based on Lyapunov analysis, the number of online learning computation burdens can be reduced greatly, and the different kinds of fuzzy logic systems with fuzzy rules or without any fuzzy rules are also suited. Finally, effectiveness of the proposed approach has been shown in simulation example. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 84-89 [Access article in PDF] Christian Views on Ritual Practice Concerning Ritual Practice and Ethics in Buddhism Donald W. MitchellPurdue UniversityThe three papers presented by this panel have given me a much greater knowledge about, and appreciation for, the relationship between ritual practice and ethical action in Tibetan, Zen, and Nichiren Buddhism. I would like to respond to each of the papers one at a (...) time from a Christian point of view by making certain comparisons with the connection between Christian ethics and ritual practice. Let me begin by raising a comparative five points concerning Stephanie Kaza's wonderful description [End Page 84] and insightful analysis of the function of ritual in nurturing authentic personhood in Zen.First, it seems that the practice of ritual in Zen demands a degree of self-sacrifice which in turn aids in the cultivation of the virtue of selflessness. For example, Kaza says that through the participation in ritual practice, "the student is freed from his or her own individual designs and preferences... not asking any questions but just trying to do it better and more fully each time." Or elsewhere Kaza concludes, "Zen ritual is a training ground for intensive practice in giving up the small ego-bound self." In a similar way for the Christian, the self-sacrifice demanded in ritual performance can be seen as nurturing selflessness in the context of community--as aiding one in giving up one's ego in order to participate more fully in the communal life of agape. But more than this, the value of selfless participation in the Christian community that is reinforced by the ritual is connected to a call for future action: It calls one to contribute selflessly together with others to building the reign of God. In Christianity, the performing of ritual with others sensitizes one to the fact that he or she is part of the church working for a collective love and unity that manifests in human community the very holiness of the unity and love of the Trinity. One is thus called within the sacred ritual environment to bring this love and unity into one's everyday environment through ethical behavior.Second, besides selflessness, another positive quality that is cultivated through ritual practice is mindful awareness. As Kaza states in regard to the meal ritual, this practice "cultivates mindful awareness... if one merges wholeheartedly with the process, the meal itself becomes a lesson in co-dependent arising." In other words, the ritual performance brings to mind an awareness of fundamental reality according to Buddhism, namely, dependent arising. Being aware of mutual interdependence brings a deeper sense of compassion for all beings, and a more focused inspiration to act morally on their behalf. So, too, in Christianity, ritual is seen to be a "social drama" that brings to awareness the reality of the mystical body of Christ, the church, being the social form of Jesus Christ in the world. Ritual, as a sacred and dramatic social manifestation of the church, brings this communal reality of Christ to the Christian's mindful awareness by breaking into the secular structures of ordinary consciousness. Furthermore, the ritual also guides, forms, inspires, strengthens, and encourages the participants to re-enter that ordinary life committed to living the values and ideals expressed in the ritual. The formative power of the ritual performance lies, in part, in the fact that ritual ties ideas, values, and ideals to sensual and emotional stimuli in a way that, in the words of Victor Turner, "connects the obligatory into the desirable" (The Forest of Symbols, 1967).Third, Kaza shows how ritual in Zen helps to convey the tradition and promote solidarity within the community. She says that ritual in Zen: "promotes healthy sangha through sharing the stability and continuity of traditional practice forms... which generate a culture of the larger body--familiar and supportive." In Christianity, too, the multidimensional expressions of the ritual performance--the physical movements, sounds, music, smells, verbal articulations, etc.--all blend together in ways that pass on certain ideas, ideals, and values... (shrink)

In recent years, there has been an escalation in cases of cyber violence, which has had a chilling effect on users' behavior toward social media sites. This article explores the causes behind cyber violence and provides empirical data for developing means for effective prevention. Using elements of the stimulus–organism–response theory, we constructed a model of cyber-violence behavior. A closed-ended questionnaire was administered to collect data through an online survey, which results in 531 valid responses. A proposed model was tested using (...) partial least squares structural equation modeling using SmartPLS 3.0, v. Research findings show that information inequality is a strong external stimulus with a significant positive impact on digital distrust and negative emotion. However, the effects of information overload on digital distrust and the adverse effects of communication overload on negative emotions should not be ignored. Both digital distrust and negative emotions have significant positive impacts on cyber violence and cumulatively represent 11.5% changes in cyber violence. Furthermore, information overload, communication overload, information inequality, and digital distrust show a 27.1% change in negative emotions. This study also presents evidence for competitive mediation of digital distrust by information overload, information inequality, and cyber violence. The results of this study have implications for individual practitioners and scholars, for organizations, and at the governmental level regarding cyber-violence behavior. To test our hypotheses, we have constructed an empirical, multidimensional model, including the role of specific mediators in creating relationships. (shrink)

This paper wants to address the Aristotelian analysis of the concept of mimesis from a social and cultural angle. It is going to show that mimesis is crucial if we want to understand why the institution of the theatre played such a crucial role in the civic educational programme of classical Athens. The paper’s argument is that the magic spell of theatrical imitation, its aesthetic machinery was exploited by the city for civic educational function. Dramas, and in particular tragedies helped (...) to articulate the city’s political expectations from the citizens, and they achieved it with far better efficiency than any other medium of propaganda which was available in those days. It will first reconstruct the duality within the internal structure of the Aristotelian account of mimesis in Poetics: it will show both 1.) the aesthetic and 2.) the socio-cultural dimensions of his theory of civic initiation through dramatic imitation. In the second part it will compare this Greek cultural context with a similar context in Rome in the activity and writings of Cicero. Finally, the paper presents the Renaissance republican context of early modern Europe, which also connected politico-moral education with the idea of mimesis. (shrink)

The purpose of this study is to quantitatively analyze 34 independent papers collated from both domestic and international literature on the correlation between university entrepreneurial activities and college students’ entrepreneurial abilities by means of meta-regression analysis and to examine in detail the significant factors affecting the entrepreneurial competencies of university students. The study revealed a significant positive relationship between entrepreneurial activities in universities and university students’ entrepreneurial ability, and further explored the extent to which each of the three types of (...) entrepreneurial activities had an impact on college students’ entrepreneurial abilities. Then, the effects of different moderating variables on the relationship are further analyzed. The results show that the type of university, economic development, gender ratio, age structure, and time to publication all significantly moderate the degree of correlation between university entrepreneurial activities and college students’ entrepreneurial abilities. (shrink)