The article presents the definition of polylingual education, aсcepted in the scientific and expert community abroad. The positive practices of multilingual education in Europe are summarized on the basis of the analysis of the project of European centre for modern languages of the Council of Europe, allowing to assess adequately the significance of the transformation of the language policy of the Russian Federation, using the experience of European countries in the development of polylingual personality. Arguments are given regarding the prospects (...) for the development of multilingual education in Russia, and one of the possible models for its implementation in higher education is proposed. (shrink)

This article aims to analyze the manifestation of the universal axiological cultural category of sinfulness in the media space. The study's subject was this category's properties and functions, which are actualized when represented in digital media. In accordance with this goal, we used such methods as continuous sampling and observation of the facts of the representation of cultural categories, which allowed us to determine the linguistic material for analysis and a statistical method for quantitative analysis. The content analysis of the (...) units selected for the study was used to identify the role, properties, and main functions of the universal axiological category of sinfulness. The novelty of the research lies in the fact that, for the first time, the universal nature of the category of sinfulness, its functions and properties, represented in media publications, were considered. Main conclusions: the study of the facts of actualization of the category of sinfulness in the media space allowed us to assert that the phenomenon under study is associated with topics such as politics, crime (in news media), and the assessment of citizens' behavior and morality (in religious media). These facts indicate that the primary function of the category of sinfulness is regulatory, aimed at evaluating and correcting the actions of members of society, as well as creating public opinion. In addition, the article proves that the category of sinfulness has transcultural properties, penetrating and being realized in all cultural layers, from local to global. In these cultural layers, the nature of the category acquires a different shade. In particular, at the global level, the category of sinfulness acquires the meaning of guilt, which is a consequence of the significant influence of Western culture on the global culture. It seems that the revealed properties of the category indicate its high importance for modern Russian society. The established regulatory function will make it possible to apply this category, including within the framework of regulating and managing public opinion and promoting basic values. (shrink)

At the beginning of the third millenium the aspect of truth comes out to be especially topical. The greatest interest is risen by existentialistic and social aspects of the truth issue. Their correlation studying is the most productive way to research the aspect of truth. An individual life passes under certain circumstances, one of them being social reality. Presence of other people, necessity of communication and correlation of individual and social substances allows emphasizing a social side of the truth aspect. (...) The notion of truth is shaped under condition of intersubjectivity or within the process of social subjects interaction. On the one hand it provides a possibility to take the truth as an objectively existing phenomenon, on the other hand it transfers individual valuables and strivings into generally significant field. So Truth is destined to stay one of the most important and notional for a person concepts (despite of post-modernism attempts not to use it basically), as it legitimates a universal principle of common valuables availability for all people on the earth. (shrink)

The phenomenon of information conflict at the moment is an actual research object of many social and humanitarian disciplines. On the other hand, there is a lack of fundamental theoretical, primarily philosophical and methodological, research on this issue. This is expressed, inter alia, in the absence of philosophical and methodological grounds for isolating an information conflict from the totality of all objectively observed communications, i.e. demarcation of the phenomenon. The problem of finding criteria for an information conflict is of key (...) importance in the formation of the methodological foundations and categorical apparatus for studying this phenomenon. In this regard, the need to develop theoretical foundations for the demarcation of information conflict is an urgent research task. The object of this work is the phenomenon of information conflict as part of the communicative process. The subject of the research is the problem of demarcation of information conflicts from all aggregate communications. The purpose of the study is to describe and substantiate the existing object-oriented methodologies that allow for the demarcation procedure. The following tasks are adequately formulated for the purpose of the study: 1) describe the problem of demarcation; 2) identify the communicative grounds of the information conflict; 3) analyze and highlight the main approaches to the problem of demarcation of information conflict. The novelty of the work lies in the systematic description and structuring of methodological approaches to the problem of demarcation of information conflicts, as well as analysis of the boundaries of methodologies and approaches. In the course of the work, it was determined and proved that, relying solely on the theory of communication, it is impossible to adequately carry out the demarcation procedure; it is necessary to use additional, non-communicative demarcation criteria, which is due to the variety of demarcation approaches in various studies. In conclusion, conclusions are formulated about the limitations of object-oriented approaches for solving the problem of demarcation of information conflicts. (shrink)

This publication aims to analyze the economic, social, and cultural phenomena that first appeared in the "era of revolutions" that occurred in the nineteenth to early twentieth centuries. The modern European trend toward tolerance, which is the basis of current social and cultural changes, including in our country, has specific intellectual grounds. The subject of the study was the ideosphere of the nineteenth and early twentieth centuries, including philosophical, economic, and psychological concepts that gave rise to modern trends in these (...) areas. The result of this study was the determination of the reasons that caused the change of the ideological paradigm in Europe. The novelty of the research lies in the fact that, for the first time, the intellectual foundations of the formation of tolerance as an actual socio-cultural phenomenon are analyzed. This article consistently proves that among the first such grounds, it is possible to determine the emergence of machine production and, as a result, the appearance of a mass person with a culture corresponding to them, performing a compensatory and entertaining function. The most important cultural foundation is mainly the intellectual "background" created by the teachings of Friedrich Nietzsche, Karl Marx, and Sigmund Freud. The ideas of Anglo-American pragmatism played a significant role in forming a new morality, which included the denial of religion and its values, giving it a utilitarian character. During the subsequent historical period and at present, these views have become the basis for the creation of the so-called "individual faith," in which religion ceases to be the guide of human life but only serves the needs of the individual. The desacralization of religion leads to the study of different aspects of sexuality, which opens up the possibility for modern thinking about gender. The concept of "natural law" should also be attributed to the intellectual factors of the formation of modern European tolerance. (shrink)

This paper investigates Negative Concord, arguing that it results from a systematic lexical ambiguity: the items that participate in Negative Concord ("n-words" in Laka's 1990 terminology) are ambiguous between negative polarity items and their genuinely negative counterparts. I try to show that on empirical grounds the proposed account compares favorably with other analyses that shy away from ambiguity. I furthermore suggest that the ambiguity is not implausible conceptually because it can be viewed as reflecting an intermediate stage of the Jespersen (...) Cycle. Negative Concord can be observed in many languages. The data discussed here are taken from Romance, primarily Spanish. (shrink)

Bare conditionals, I argue, exhibit Conditional Duality in that when they appear in downward entailing environments they differ from bare conditionals elsewhere in having existential rather than universal force. Two recalcitrant phenomena are shown to find a new explanation under this thesis: bare conditionals under only, and bare conditionals in the scope of negative nominal quantifiers, or what has come to be known as Higginbotham’s puzzle. I also consider how bare conditionals behave when embedded under negation, arguing that such conditionals (...) often involve denial negation. One important conclusion that emerges from the discussion is that an account of bare conditionals that validates Conditional Excluded Middle is not warranted. By limiting the scope of the strict analysis Conditional Duality is also a way of maintaining such an account. (shrink)

The study of opera art at the turn of the 18th–19th centuries is currently a topical research. At the beginning of the 19th century, many cardinal changes took place in the field of vocal performance: new types of singing voices and dramatic roles were formed, the manner of ornamentation of parts underwent changes. Many works of domestic and foreign musicologists are mainly devoted to the study of the operatic performance of tenors, basses, contraltos and sopranos. Occasionally, they mention the baritones (...) of the Verdi period, and the period of the birth of the baritone role, unfortunately, remains unexplored. The subject of this study is the operatic and vocal work of the Italian baritone Antonio Tamburini. The object of the study is the baritone roles created for the singer. The theoretical and methodological basis of the study was the works of modern domestic and foreign musicologists devoted to the art of vocal masters of the early 19th century, reviews of Tamburini's contemporary music critics and his creative biography. The novelty of the study lies in the identification of causal relationships between the performance of the singer and the evolutionary processes that occurred in the opera art of the early 19th century. The main conclusion of the study is to identify the role of Tamburini in the formation of the role of the baritone. (shrink)

Though predictive processing approaches to the mind were originally applied to exteroceptive perception, i.e., vision and action, recent work has started to explore the role of interoceptive perception, i.e., emotion and affect. This article builds on this work by extending PP beyond emotion to the construction of emotional dispositions. I employ principles from dynamical systems theory and PP to provide a model of how dispositional anger can develop in response to early experiences of psychosocial stress. The model is then deployed (...) to explain the established link between psychosocial stress in early life and the appearance of certain organic disease phenotypes in later life. This phenomenon can appear mysterious when viewed through the standard biomedical explanatory lens, which has difficulty accounting for the causal influence of subjective perceptions and evaluations of the social and material environment on the development of organic disease processes. The model provided presents such cases as instances of developmental mismatch. They occur when an organism develops an emotional disposition that leads them to make habitually-biased appraisals of what the social environment affords. The model provides a novel explanation of certain organic disease phenotypes with top-down and developmental causes, and demystifies one class of cases involving apparently spooky ‘mind-to-matter’ causation. (shrink)

The enactive approach to cognition distinctively emphasizes autonomy, adaptivity, agency, meaning, experience, and interaction. Taken together, these principles can provide the new sciences of language with a comprehensive philosophical framework: languaging as adaptive social sense-making. This is a refinement and advancement on Maturana’s idea of languaging as a manner of living. Overcoming limitations in Maturana’s initial formulation of languaging is one of three motivations for this paper. Another is to give a response to skeptics who challenge enactivism to connect “lower-level” (...) sense-making with “higher-order” sophisticated moves like those commonly ascribed to language. Our primary goal is to contribute a positive story developed from the enactive account of social cognition, participatory sense-making. This concept is put into play in two different philosophical models, which respectively chronicle the logical and ontogenetic development of languaging as a particular form of social agency. Languaging emerges from the interplay of coordination and exploration inherent in the primordial tensions of participatory sense-making between individual and interactive norms; it is a practice that transcends the self-other boundary and enables agents to regulate self and other as well as interaction couplings. Linguistic sense-makers are those who negotiate interactive and internalized ways of meta-regulating the moment-to-moment activities of living and cognizing. Sense-makers in enlanguaged environments incorporate sensitivities, roles, and powers into their unique yet intelligible linguistic bodies. We dissolve the problematic dichotomies of high/low, online/offline, and linguistic/nonlinguistic cognition, and we provide new boundary criteria for specifying languaging as a prevalent kind of human social sense-making. (shrink)

_Learning to Unlearn: Decolonial Reflections from Eurasia and the Americas _is a complex, multisided rethinking of the epistemic matrix of Western modernity and coloniality from the position of border epistemology. Colonial and imperial differences are the two key concepts to understanding how the logic of coloniality creates ontological and epistemic exteriorities. Being at once an enactment of decolonial thinking and an attempt to define its main grounds, mechanisms, and concepts, the book shifts the politics of knowledge from “studying the other” (...) toward “the thinking other”. Addressing areas as diverse as the philosophy of higher education, gender, citizenship, human rights, and indigenous agency, and providing fascinating and little-known examples of decolonial thinking, education, and art, Madina V. Tlostanova and Walter D. Mignolo deconstruct the modern architecture of knowledge—its production and distribution as manifested in the corporate university. In addition, the authors dwell on and define the echoing global decolonial sensibilities as expressed in the Americas and in peripheral Eurasia. The book is an important addition to the emerging transoceanic inquiries that introduce decolonial thought and non-Western border epistemologies not only to update or transform disciplines but also to act and think decolonially in the global futures to come. (shrink)

The article is devoted to the identification of the genesis, typology and characterization of the philosophical concept of chaos, discreteness, paradoxicity and rhizomorphism of being and their reflection in philosophy and postmodern fiction based on the works of J.L. Borges and U. Eco is about libraries embodied by foreign authors as rhizomorphic paradoxical labyrinths. The concept of rhizome is considered in the context of temporal chaos. In accordance with the basic principles of historical science, the issues of rhizomorphism of the (...) labyrinth library in the context of time are revealed. The research methodology includes general scientific and special comparative methods. The comparative historical and descriptive approaches of the above sources are used. Examples of works by J.L. Borges and U. Eco in the concept of their description of the library as a rhizomorphic paradoxical labyrinth. The relevance of the article lies in the appeal to the analysis of the image of the library as a concept that initially symbolizes the storage of books, knowledge, embodying stability, logical orderliness, consistency. In the culture and art of postmodernism, this symbolism has been radically transformed, which is convincingly proved by the analysis of texts by J.L. Borges and U. Eco. (shrink)

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis (...) of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today. (shrink)

The purpose of this study is to determine the features of creating integrated courses using a foreign language for university students. Achieving this goal requires solving the problems of developing a conceptual framework for the use of a foreign language in integrated courses in the educational process at the university. The article presents and analyzes: the definition, classification, typology, main characteristics and advantages of the work of a teacher with students in the university within the framework of an integrated course. (...) The conclusions of the study allowed us to present some of the most important features of the educational subjects working in the framework of an integrated course at the university. (shrink)

The article discusses teaching the analysis of documentary films from the standpoint of a discursive approach. The importance of teaching the analysis of documentary films is due to the specifics of audiovisual production. A documentary film is a polyosemiotic construct combined with verbal, pictorial and sound signs, which are important for the translator to take into account in the translation process. The discursive approach allows to teach future translators to analyze not only the work as a whole, but also to (...) analyze the historical and socio-cultural context in which it was created. (shrink)

The global coronavirus pandemic has had an impact on the socio-economic development of the world. The article assesses the economic growth in the EAEU member States for 2020. Specific features of the development of the Union's economies are defined. Recommendations for increasing the rate of economic growth are formulated.

Since March 2020, many countries throughout the world have been in lockdown in response to the COVID-19 pandemic. In Italy, the quarantine began on March 9, 2020, and containment measures were partially reduced only on May 4, 2020. The quarantine experience has a significant psychological impact at all ages but can have it above all on adolescents who cannot go to school, play sports, and meet friends. In this scenario, this study aimed to provide a general overview of the perceived (...) risk related to COVID-19 and the psychological experience of quarantine in a large sample of Italian adolescents. 978 adolescents (males = 339; females = 639) living in 13 Italian regions and attending upper secondary school (age range: 13–20, M = 16.57, SD = 1.20), responded to an internet-based questionnaire about perceived health risk related to COVID-19, knowledge and information on measures to control the pandemic, beliefs and opinions on stage two of the quarantine, and psychological experiences related to quarantine. 31.1% of the participants lived in "red zones," which are places where the government has imposed stricter measures of containment due to exponential and uncontrolled growth in contagion cases compared to other areas in Italy. According to our results, Italian adolescents had a low perception of risk of COVID-19. Perceived comparative susceptibility and perceived seriousness were also very low. However, they were aware of the restriction measures necessary to contain the spread of the virus, and they agreed with the limitations imposed by the government. Females and adolescents living in a “red zone” showed more significant psychological negative feelings about the quarantine experience. However, no significant differences were found about the regions where the teenagers of our sample live and the other variables related to the COVID-19 experience. This is very interesting data, leading us to hypothesize that the participants' negative feelings may be more related to the adolescent period than to the pandemic itself. (shrink)

This essay frames systemic patterns of mental abuse against women of color and Indigenous women on Turtle Island (North America) in terms of larger design-of-distribution strategies in settler colonial societies, as these societies use various forms of social power to distribute, reproduce, and automate social inequalities (including public health precarities and mortality disadvantages) that skew socio-economic gain continuously toward white settler populations and their descendants. It departs from traditional studies in gender-based violence research that frame mental abuses such as gaslighting--commonly (...) understood as mental manipulation through lying or deceit--stochastically, as chance-driven interpersonal phenomena. Building on structural analyses of knowledge in political epistemology (Dotson 2012, Berenstain 2016), political theory (Davis and Ernst 2017), and Indigenous social theory (Tuck and Yang 2012), I develop the notion of cultural gaslighting to refer to the social and historical infrastructural support mechanisms that disproportionately produce abusive mental ambients in settler colonial cultures in order to further the ends of cultural genocide and dispossession. I conclude by proposing a social epidemiological account of gaslighting that a) highlights the public health harms of abusive ambients for minority populations, b) illuminates the hidden rules of social structure in settler colonial societies, and c) amplifies the corresponding need for structural reparations. (shrink)

Journal Name: Cognitive Linguistics Issue: Ahead of print.

This essay argues that according to feminist existential phenomenology, feminist pragmatism, and feminist genealogy, our embodied condition is an important starting place for ethical living due to the inevitable role that habits play in our conduct. In bodies, the phenomenon of habit uniquely holds together the ambiguities of freedom and determinism, transcendence and immanence, and stability and plasticity. Seeing habit formation as a matter of self-growth and social justice gives fresh opportunity for thinking of “assuming ambiguity” as a lifelong endeavor (...) made up of many small projects and practices of situated resistance to stagnation. Transcendence, understood as ameliorative transformation, is found in cultivating habits of learning from our bodily living. I articulate this argument via a reading of Simone de Beauvoir's The Coming of Age, John Dewey's Human Nature and Conduct, and Ladelle McWhorter's Bodies and Pleasures. I discuss two domains wherein the ethical significance of habit formation appears: cognitive psychological research on neural plasticity, and certain projects of self-cultivation that risk turning into overdetermining “cult of the self ” practices that close off possibilities for personal and collective transformation. (shrink)

"Now in its third edition, this classic text remains the seminal resource for in-depth information about major concepts and principles of the cultural-historical theory developed by Lev Vygotsky, his students, and colleagues, as well as three generations of neo-Vygotskian scholars in Russia and the West. Featuring two new chapters on brain development and scaffolding in the zone of proximal development, as well as additional content on technology, dual language learners, and students with disabilities, this new edition provides the latest research (...) evidence supporting the basics of the cultural-historical approach alongside Vygotskian-based practical implications. With concrete explanations and strategies on how to scaffold young children's learning and development, this book is essential reading for students of early childhood theory and development"--. (shrink)

A macroscope is proposed and tested here for the discovery of the unique argumentative footprint that characterizes how a collective manages differences and pursues disagreement through argument in a polylogue. The macroscope addresses broader analytic problems posed by various conceptualizations of large-scale argument, such as fields, spheres, communities, and institutions. The design incorporates a two-tier methodology for detecting argument patterns of the arguments performed in arguing by an interactive collective that produces views, or topographies, of the ways that issues are (...) generated in the making and defending of standpoints. The design premises for the macroscope build on insights about argument patterns from pragma-dialectical theory by incorporating research and theory on disagreement management and the Argumentum Model of Topics. The design reconceptualizes prototypical and stereotypical argument patterns for characterizing large-scale argumentation. A prototype of the macroscope is tested on data drawn from six threads about oil-drilling and fracking from the subreddit Changemyview. The implementation suggests the efficacy of the macroscope’s design and potential for identifying what communities make controversial and how the disagreement space in a polylogue is managed through stereotypical argument patterns in terms of claims/premises, inferential relations, and presentational devices. (shrink)

Over the years, researchers of numerous fields have suggested different criteria and conventions for the transcription of oral samples. Current practice by workers who carry out transcriptions in the Spanish legal system is not standardized and does not follow any general criteria. Indeed, the standards followed by professionals in this context are characterized by their heterogeneity. This contribution highlights the benefits of adhering to a particular set of criteria and conventions agreed upon by 115 transcribers to make the transcription process (...) more efficient, improve its comprehension and add to the value of transcriptions as key documents within the legal system that may have a direct impact on the right of the parties involved. (shrink)

The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the (...) musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage. (shrink)

The question whether AI systems have agency is gaining increasing importance in discussions of responsibility for AI behavior. This paper argues that an approach to artificial agency needs to be teleological, and consider the role of human goals in particular if it is to adequately address the issue of responsibility. I will defend the view that while AI systems can be viewed as autonomous in the sense of identifying or pursuing goals, they rely on human goals and other values incorporated (...) into their design, and are, as such, dependent on human agents. As a consequence, AI systems cannot be held morally responsible, and responsibility attributions should take into account normative and social aspects involved in the design and deployment of the said AI. My argument falls in line with approaches critical of attributing moral agency to artificial agents, but draws from the philosophy of action, highlighting further philosophical underpinnings of current debates on artificial agency. (shrink)

The article is devoted to the study of the phenomenon of ideology in the context of its normative and regulatory function. The author's contribution to the further knowledge of the ideology was the following main conclusions. The emergence of ideology as a regulatory mechanism was primarily due to the transition from a traditional society to a modern one. Ideology is an attribute of modern society, since it acts as an intermediary between a person and social reality, determining and regulating the (...) activities of all people and relations between them in any sphere of society. In the XIX – first half of the XX centuries political ideology in its theoretical form dominated. As a regulatory mechanism, it functioned alongside religion, morality, and law, complementing them. In the second half of the XX – XXI centuries, as a result of the third STR, ideology in an ordinary and practical form became widespread. It began to replace the traditional regulatory mechanisms, surpassing them in the degree of influence on public consciousness and becoming the main mechanism of social regulation. (shrink)

It has been a long-standing puzzle that Negative Polarity Items appear to split into two subvarieties when their effect on the interpretation of questions is taken into account: while questions with any and ever can be used as unbiased requests of information, questions with so-called `minimizers', i.e. idioms like lift a finger and the faintest idea, are always biased towards a negative answer (cf. Ladusaw 1979). Focusing on yes/no questions, this paper presents a solution to this puzzle. Specifically it is (...) shown that in virtue of containing even (cf. Heim 1984), minimizers, unlike any, trigger a presupposition, which reduces the set of the possible answers to a question to the singleton containing the negative answer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

Villeneuve d’Ascq, Presses universitaires du Septentrion, 2018, 404 p. Cette collection d’essais commence avec une question provocatrice : d’autres cours d’Europe offrent-elles une place « aussi éminente » aux femmes que la cour de France à l’époque moderne? Les études réunies ici montrent de façon évidente l’importance et la centralité des femmes à la cour de France, des reines et princesses au sommet du pouvoir jusqu’aux demoiselles de musique, nourrices, femmes d’officiels et autres. Cet...

This article examines the ways in which villainous characters are portrayed in post-classical American films, and examines how these characters are viewed by the cinematic audience in order to ascertain the degree to which the socially and morally understood roles or heroism and villainy might be inverted through cinematic representation. The potential for the inversion of perceived good and evil in the characters that inhabit the films discussed is considered in relation to the aligning and allying capacity of cinema. This (...) work also considers the impact of stars in villainous roles and the significance of generic conventions in rendering the villain apparently inert to a viewing audience. Through considering the formal presentation of characters and scenarios, this work suggests that villainous deeds can be perceived as unthreatening, and even 'moral' to an extent. The purpose of this article is to form an understanding of how audiences engage with iniquitous characters, and to consider the potential spectatorial implications of such a bond. (shrink)

How many scientific demonstrations can a single phenomenon have? This paper argues that, according to Aristotle's theory of scientific knowledge as laid out in the Posterior Analytics, a single conclusion may be demonstrated via more than one explanatory middle term. I also argue that this model of multiple demonstration is put into practice in the biological writings. This paper thereby accomplishes two related goals: it clarifies certain relatively obscure passages of the Posterior Analytics and uses them to show how Aristotle (...) explains biological phenomena by reference to both final and material causes in the Parts of Animals. The first part of the paper explains the account of multiple demonstration present in the Posterior Analytics and distinguishes it from another kind of plural explanation rejected by Aristotle. The second part of the paper turns to the biological explanation in the Parts of Animals and shows how Aristotle's account of multiple demonstrations works in practice. The paper thus provides evidence for the claim that the ‘applied’ reasoning on display in the biological works is in harmony with the framework of the logical treatises, and thus may also shed light on questions of the unity of the Aristotelian corpus. (shrink)