There is debate within the literature as to whether emotion dysregulation (ED) in Attention-Deficit Hyperactivity Disorder (ADHD) reflects deviant attentional mechanisms or atypical perceptual emotion processing. Previous reviews have reliably examined the nature of facial, but not vocal, emotion recognition accuracy in ADHD. The present meta-analysis quantified vocal emotion recognition (VER) accuracy scores in ADHD and controls using robust variance estimation, gathered from 21 published and unpublished papers. Additional moderator analyses were carried out to determine whether the (...) nature of VER accuracy in ADHD varied depending on emotion type. Findings revealed a medium effect size for the presence of VER deficits in ADHD, and moderator analyses showed VER accuracy in ADHD did not differ due to emotion type. These results support the theories which implicate the role of attentional mechanisms in driving VER deficits in ADHD. However, there is insufficient data within the behavioural VER literature to support the presence of emotion processing atypicalities in ADHD. Future neuro-imaging research could explore the interaction between attention and emotion processing in ADHD, taking into consideration ADHD subtypes and comorbidities. (shrink)

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage (...) in infants than to babbling. (shrink)

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in (...) the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society. (shrink)

Most research on cross-cultural emotion recognition has focused on facial expressions. To integrate the body of evidence on vocal expression, we present a meta-analysis of 37 cross-cultural studies...

Our study explored the application of emotion philosophy in vocal music teaching. We utilized surveys, semi-structured interviews, and focus group discussions to gather data from a group of 18 students. The survey results revealed an average familiarity with emotion philosophy concepts but a strong agreement on the importance of understanding a song's emotions for effective singing. Students perceived their current vocal training to be somewhat helpful in understanding emotional background but felt it focused more on technical skills than (...) fostering emotional connection. Thematic analysis of interview data highlighted several key themes. Students emphasized the importance of imagination and storytelling techniques to connect with a song's emotions. Additionally, they valued understanding the historical context of a work and viewed developing emotional intelligence as beneficial. Integrating philosophical frameworks on emotional expression was seen as a way to gain a deeper understanding of vocal performance. In terms of vocal techniques, timbre variations were seen as a powerful tool for emotional expression. Nuances in dynamics and phrasing were viewed as ways to create specific emotions, and clear articulation was considered important for ensuring listeners grasped the lyrical message and connected with the song's emotional core. Overall, this study suggests that incorporating emotion philosophy concepts and techniques into vocal training has the potential to enhance students' understanding and expression of emotions in their singing. (shrink)

As one of Mozart's classic works, the tenor aria of the opera “Idomeneo” has unique artistic characteristics and singing form, which profoundly expresses the character's inner emotions. In order to be able to explore the singing characteristics and artistic features of the tenor in the aria, this paper firstly analyzes the creative background and plot of the opera “Idomeneo”. Secondly, it analyzes the singing characteristics of the opera and discusses the characteristics of tenors in different versions. Finally, it discusses the (...) skills that need to be emphasized when singing in the opera, as well as the pitch problems of the singers in the singing process. The analysis of the artistic characteristics of the opera “Idomeneo” concludes that the opera “Idomeneo” has high artistic characteristics and cultural value, and the melody and logic of the opera is more compact, which attracts a large number of audiences. The chorus part of the opera is more satisfactory scoring 8.6 points, and the emotional expression aspect of the opera is 7.3 points. The chorus part of the opera scored 7.5, which concluded that the opera is innovative and can resonate with the audience, and the way of singing is more delicate, which can deeply express the emotion of the opera. (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)

This paper will examine Choir Boy, a trans coming-of-age novel by Charlie Anders, to disrupt historically rooted medical narratives of gender transition. Through a disability studies lens, this paper locates vocal performance as a means of speaking back to gatekeeping practices held in place by medical authorities since the inception of transsexuality as a classificatory category. Offering imaginative alternatives to “wrong body” diagnostics, this analysis places cultural texts in conversation with disability theory to reframe the trans self as (...) a singing body that cannot be reduced to normalizing biomedical practices. Choir Boy frames vocal performance as a mode of gender expression and as a survival strategy against violence. The trans counter-narratives offered by Anders resist the medicalization of trans bodies and the classification of some bodies as not “trans enough” to qualify for transition. Choir Boy locates vocal performance and not binary gender identification as impetus for transition, thereby advocating for trans self-determination over medical access. (shrink)

The exploration of philosophical ideas within Beethoven's vocal suites provides a vital lens through which one can better understand his musical oeuvre, particularly in the debate between classicism and romanticism. This study dissects Beethoven's compositional evolution across three distinct phases: the formative years (1782-1801), the middle period (1802-1812), and the late stage (1813-1827), each marked by varying degrees of engagement with philosophical themes such as Enlightenment, heroism, and idealism. These themes are not merely aesthetic choices but reflect deep spiritual (...) and existential inquiries prevalent during Beethoven's time. Specifically, the Gellert Collection of Religious Songs, an essential work from Beethoven's repertoire, is scrutinized to uncover how it encapsulates the spiritual values and philosophical dialogues between classicism, emphasising order and rationality, and romanticism, which champions emotion and individualism. This analysis reveals how Beethoven’s vocal music serves as a medium for philosophical reflection and spiritual expression, mirroring the broader cultural shifts towards individual moral and spiritual autonomy that characterized the transition from Enlightenment ideals to Romantic values. (shrink)

This Article aimed to study this paper aims to analyze the impact of professional skills involved in singing on performers by studying the environment, conditions, and historical development when performing Italian chamber vocal music works, clarifying the skills and knowledge that performers need to master. This study will delve into the diversity of Italian chamber vocal music works and extract their unique values and characteristics. Through a mixed research method combining qualitative and quantitative research, this study helps researchers (...) better understand the characteristics and musical value of Italian chamber vocal music and provides methodological guidance for other researchers. The sample was two parts: one part consists of 110 teachers and students specializing in chamber vocal music at Italian music and other part is 200 amateurs with a strong interest in Italian chamber vocal music in society academies. They was selected by learn the art of Italian chamber vocal music performance through educational activities. The instrument for collecting data was by questionnaire Format. Analysis data by Descriptive statistics and Content Analysis. The research results were found as follows: 1.The Italian chamber vocal music has grown over time, with evolving techniques, styles, and cultural traits enriching its legacy. 2.In the 21st century, globalization and technological advances easy to promote Italian chamber vocal music. New media technologies offer opportunities for its dissemination. 3.The talent pool for Italian chamber vocal music is aging and shrinking. As a specialized art form with a limited audience, it's challenging to attract new talent. Therefore, nurturing new vocal talents is crucial. (shrink)

This article interprets the formation of personal value orientations in the context of the artistic perception of the world. Personality is formed in the process of socialization and self-realization. Every person in the world is an individual, and individuality is formed in the process of acquiring value orientations, as well as in the conditions of cultural and educational development. Thus, an individual perceives the world and the environment in own way. His or her idea is a consequence of the value (...) perception of the world, which arose as a result of certain life experience and educational activitiy. Human has a value attitude to oneself, to people, to art, to work, to society and state, and such an attitude is formed individually for everyone, but on equal conditions. After all, each individual has own characteristics, own worldview, dreams, and ideas. The perception of art is phenomenological in the formation of value orientations of human. After all, works of art are already a consequence of a certain value representation of a creator, which is interpreted through the work of art. In the course of our research the integration method of synthesis and the analysis of figurative structure, and, the characteristic of works of art are used. The methods of synthesis, analysis and interpretation contribute to the scientific perception of works of art that influence the formation of human values to culture. The results of our study reveal that in general, value attitude are formed throughout a person's life. (shrink)

After a thousand years of feudal middle ages, the west entered a new era, namely the Renaissance, from the 14th century. With the influence of humanism on the cultural field, people's individuality consciousness has been released. Western pop music is a western art form with profound connotation and eternal value. In recent years, many scholars and music educators have carried out a series of research and popularization of western pop music. Through scientific methods, the students' ability to control pop music (...) can be transformed into the basic quality of solfeggio listening training, so as to achieve the combination of the advantages of pop music and serious music, so as to complete the interactive, concise and diversified solfeggio teaching and broaden new teaching ideas. The role and influence of religious songs on the development of western vocal music art is incalculable. Its value is reflected in various fields of vocal music art. Therefore, while singing and appreciating religious songs, we should also strengthen the study and research of their background and historical development. (shrink)

The article, based on archival data, as well as preserved testimonies of students, attempts to reconstruct the pedagogical views of M. E. Medvedev and A.M. Paskhalova, whose teaching activity was the basis for the subsequent formation of the vocal and pedagogical traditions of the Saratov Conservatory. The object of research here is the vocal and pedagogical traditions of the Saratov Conservatory, the subject is the pedagogical views of the professors of the initial period of activity of the educational (...) institution under consideration - M. E. Medvedev and A.M. Paskhalova. The paper analyzes the book of the student M. E. Medvedev baritone S. Y. Levik "Notes of an opera singer", as well as the methodological work of A.M. Paskhalova "Work on the production of voice for the leaders of the Russian folk song choir". It is revealed that, despite the differences in some aspects of the vocalist's voice production (soundless exercises, scientific foundations of vocalist education, the use of vocalizations, etc.), the activities of M. E. Medvedev and A. M. Paskhalova is characterized by the following general provisions: a rather low type of breathing, increased attention to the development of a sense of sound support, a cautious attitude to the development of a full range of voice, the development of clear diction, evenness of sound studies, smoothness of register transitions; soft sound attack; the ability to vocalize various dynamic gradations of vocalization qualitatively; the use of a "concentric" teaching method in the pedagogical process, increased attention to the upbringing of the emotional and dramatic component of the performer's personality. The analysis also showed that the features distinguishing the pedagogical views of professors of the initial period of the Saratov Conservatory's activity can be attributed to the use of the repertoire of Russian composers in classroom work at the initial stage of training singers. (shrink)

The current behavioral consultation case demonstrates how functional behavioral assessment (FBA) data, basic and applied research, teacher preferences, and contextual variables contribute to the decision making process when developing classroom intervention procedures. A male, African-American, fifth-grade general education student was initially referred for his inappropriate vocalizations duringtime designated for independent seatwork. FBA data suggested that this behavior was being reinforced with teacher attention. Additional data showed that he was failing to complete his assignments. An intervention was implemented where the student (...) was given assignments one a time. He was instructed to solicit teacher attention and his next assignment after completing each assignment. Analysis ofteacher ratings for inappropriate vocalizations and assignment performance data suggest that the intervention was effective in increasing assignment completion and decreasing inappropriate verbalizations. Discussion focuses on how the various data playa role in the development and implementation of classroom intervention procedures. (shrink)

The current behavioral consultation case demonstrates how functional behavioral assessment (FBA) data, basic and applied research, teacher preferences, and contextual variables contribute to the decision making process when developing classroom intervention procedures. A male, African-American, fifth-grade general education student was initially referred for his inappropriate vocalizations duringtime designated for independent seatwork. FBA data suggested that this behavior was being reinforced with teacher attention. Additional data showed that he was failing to complete his assignments. An intervention was implemented where the student (...) was given assignments one a time. He was instructed to solicit teacher attention and his next assignment after completing each assignment. Analysis ofteacher ratings for inappropriate vocalizations and assignment performance data suggest that the intervention was effective in increasing assignment completion and decreasing inappropriate verbalizations. Discussion focuses on how the various data playa role in the development and implementation of classroom intervention procedures. (shrink)

This study examines the contemporary status and cultural preservation of Salar vocal folk music within the Salar Muslim community in Qinghai Province, China, highlighting its role in sustaining cultural and spiritual identity. The research aims to understand the impact of modernization and cultural integration on these traditions and explore strategies for their preservation. Using a qualitative approach, data were gathered through fieldwork in Xunhua Salar Autonomous County, including participant observations, semi-structured interviews with local musicians and cultural practitioners, and document (...) analysis of preservation policies. Audio-visual recordings of performances further supported the thematic analysis of challenges and strategies for preserving this music. Findings reveal that while government initiatives contribute significantly to preservation, greater community engagement, educational initiatives, and the use of modern technology are essential to bridge generational gaps in cultural appreciation. The study underscores the need to integrate cultural preservation into educational and religious frameworks aligned with community-centered approaches. Recommendations include targeted educational programs, innovation in media to engage younger generations, and the establishment of legal protections for intangible cultural heritage. These findings offer implications for ethnomusicologists, policymakers, and educators, supporting broader cultural preservation efforts in multi-ethnic contexts. (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was (...) determined that folk songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music (...) became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Qur'an are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal (permissible) or haram (prohibited). Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf (Islamic Mysticism), also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music (also known as Tasawwuf Music). Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Qur’an recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Qur’an is recited according to the Maqam (Melodic modes of recitation) requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Qur'an and the scientific understanding of music. When a connection between the Qur’an and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name “Fem-i Muhsin”.Hafız (a title used for a person who has memorised the Qur’an in its entirety) Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Qur'an education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Qur'an education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Qur'an to a degree of perfection and was proud of being a Hafız, where he believed that the Qur'an harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Qur’an according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Qur’an recitation, Hafız Bekir was able to take the listeners on a spiritual journey.A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Qur’an recitation according to the Istanbul Maqam style. In this study, Hafız Bekir’s dual identity as both a musician and Qur’an Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Qur'an education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties. (shrink)

Heidegger’s analysis of human existence has long been criticized for ignoring the full possibilities of human encounter. This article finds a basis for the criticism in recent infancy research. It presents evidence for a second-person structure in our earliest encounters: An infant first becomes present to herself as the focal center of a caregiver’s gazing, smiling, or vocalization. The exchange in which the self thus appears is termed a You–I event. Such an event, it is held, cannot be assimilated (...) into Heidegger’s Dasein analysis. The article locates the origins of temporality in the early playful exchanges that make up You–I events. The dread of losing the You is seen as the original form of what Heidegger calls dread in the face of death. The apparently self-sufficient self of the cogito first emerges, it is held, when the child becomes capable of playing the role of a You toward herself. This happens especially through talking “with oneself,” as in “inner” speech. The postinfancy self is here interpreted as a derivative of the You–I event. It is argued that because inner speech frees the child from a felt dependence on others for self-awareness, they are no longer experienced in their full significance. The loss of fullness extends to all beings, including the self, with the result that beings are, as Heidegger puts it, depleted of being. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (shrink)

BackgroundAt present, tic disorder has attracted the attention of medical researchers in many countries. More clinicians choose non-drug therapy, especially cognitive-behavioral therapy because of the cognitive side effects of drug therapy. However, few studies had assessed its efficacy. It is necessary to have a more comprehensive understanding of the literature quality of CBT and its intervention effect.MethodsIn this study, MEDLINE, Embase, and Cochrane were searched from the beginning to June 15, 2021 to study the efficacy of -CBT on tic disorder. (...) Only studies using the Yale Global Tic Severity Scale and the control group were included.ResultsA total of 12 randomized controlled trials, including 536 patients with tic disorders, were identified. The results showed that the effect of CBT was better than that of the control group. The pooled standardized mean difference was −0.34. The effect size of CBT differs from different intervention conditions. In seven studies, the subjects’ motor tic scores were counted. The sample size of the experimental group was 224 and that of the control group was 218. The pooled SMD was −0.43. Seven studies counted the vocal tic scores of subjects, 224 in the experimental group and 218 in the control group. The pooled SMD was −0.22. Seven studies counted the tic impairment scores of subjects, 220 in the experimental group and 214 in the control group. The pooled SMD was −0.48.ConclusionThe literature shows that different CBTs can significantly reduce the total score of tic disorder and the score of motor tic, but cannot significantly reduce the score of vocal tic. In the future, more new interventions were needed to improve the symptoms of different patients, especially vocal tic. (shrink)

Disney’s animated villains have recently changed to show less conventionally villainous traits: They look and express themselves more like sympathetic characters, and they are usually only outed as villains late in the plot. This shift has prompted much academic com­mentary on the psychological and cultural significance of Disney’s new villains. We add to the existing literature on Disney’s new villains in two ways. First, we analyze shifts in the vocalizations of villains between the 1990s and 2010s. Second, we integrate this (...) analysis in a biocultural account of Disney’s shifting overall representations of villains. We argue that while Disney has long employed evolutionarily explicable cues to villainy, such as a foreign accent and an unappealing exterior, the company is now reacting to challenges to norms of social representation that proscribe the linking of such overt traits with immorality. Con­sequently, recent Disney films do not employ socially stigmatizing cues. However, Disney continues to employ nonstigmatizing cues, such as evil laughter and abiding anger, because these cues foster antipathy in audiences at no sociomoral risk. (shrink)

Education is a part and parcel of human life itself irrespective of the field of activity. Every field of human activity has developed its own value systems. Education has also accumulated its own value systems over a period of time. In order to make value education a powerful tool, education should be made more open, more reflective and more vocal with greater participation of teachers, students, parents and the society in deciding all major aspects of education. So far, the (...) education system in India is a closed one with outdated teacher training programmes and syllabi, heavy and mind bogging exercises with lots of paper work. There is little that a student can look into the society and learn and much less the relevance of his learning to the society. For most of the times, parents look at their children like scapegoats, since they cannot participate in their children’s education. Thus, in our country education itself has became a blunt and invalid tool. Therefore, education has lost its relevance to the social, economic, political, ethical, cultural and spiritual values of our country. Under such circumstances one cannot expect education to play the role of a most effective powerful tool that can influence human life. Therefore, there is a need to examine which type of value systems we have to develop in our educational institutions in India, that are most suitable in our socio-religious, philosophical and historical background. (shrink)

This research illuminates struggles over cultural definitions of femininity by examining how cultural gatekeepers respond to girls' vocal critique of inauthentic media images. Interviews with 10 editors at two national girls' magazine organizations provide a rare glimpse into their contradictory responses to requests for depicting “real girls.” Editors legitimate and share in the critique, claiming they should change images but cannot. In these accounts, they reveal struggles over altering narrow images of femininity at the organizational and institutional levels. Editors (...) also delegitimate girls' critique as misguided by calling on the media organizations' norms and schemas about how the reader is supposed to understand the images. Paradoxically, here, editors claim that they can change images but should not. Ultimately, the power of girls' resistance is tempered, as both sets of responses lead to the girls' critique being inefficacious in redefining femininity. The study contributes to an understanding of how femininity-defining cultural institutions operate to create and sustain gender stratification. (shrink)

Public’s concern about poor animal welfare provided by intensive farming systems has increased over the last decades. This study reviewed the interest of the scientific research on the pain issue in pig production to assess if the societal instances may be a driving force for the research activity. A literature search protocol was set up to identify the peer-reviewed papers published between 1970 and 2017 that covered the topic of ‘pain in pigs’ using Scopus®, database of Elsevier©. One hundred and (...) thirty papers were selected and they were mainly focused on the practice of castration followed by tail docking. The scientific community first focused on these painful practices as a way to improve production efficiency and quality issues while more recently, due to the increased pressure by the public opinion, turned its interest towards the search of alternative solutions. A text mining analysis on the abstract of the selected papers clearly indicated the effort of the research to explore solutions to alleviate pain. Evocative words of this target were the selected terms ‘pharmacological analgesic’ and ‘anaesthetic treatments’. The text mining highlighted vocalizations as the main pain indicators in pigs as this term was frequently associated to ‘acute stress’. Ethical issues were a minor research topic in the scientific literature on pig breeding but in the short run, they are supposed to become a major subject to justify the acceptance of the modern production systems at the eyes of the consumers. (shrink)

Recent narratives and debates surrounding long-term AI concerns—the prospect of artificial general intelligence in particular—are fraught with hidden assumptions, priorities, and values. This paper employs a humanistic, narrative-centered approach to analyze the works of two vocal, and opposing, thinkers in the field—Luciano Floridi and Nick Bostrom—to ask how the representational, descriptive differences in their works reveal the high stakes of narrative choices for how we form ideas about humanity, urgency, risk, harm, and possibility in relation to AI. This paper (...) closely reads Floridi and Bostrom using different representational models and historical narratives from works in the environmental humanities, literary theory, bioethics, and the history of technology to uncover the imaginative terrain of recent long-term AI discourse and reveal the complexity and limitations of the messaging underlying the works of different authors. (shrink)

Objective: This study aims to compare the acoustic vocal analysis results of a group of transgender women relative to those of cisgender women.Methods: Thirty transgender women between the ages of 19 and 52 years old participated in the study. The control group was composed of 31 cisgender women between the ages of 20 and 48 years old. A standardized questionnaire was administered to collect general patient data to better characterize the participants. The vowel /a/ sounds of all participants (...) were collected and analyzed by the Multi-Dimensional Voice Program advanced system.Results: Statistically significant differences between cisgender and transgender women were found on 14 measures: fundamental frequency, maximum fundamental frequency, minimum fundamental frequency, standard deviation of fundamental frequency, absolute jitter, percentage or relative jitter, fundamental frequency relative average perturbation, fundamental frequency perturbation quotient, smoothed fundamental frequency perturbation quotient, fundamental frequency variation, absolute shimmer, relative shimmer, voice turbulence index, and soft phonation index. The mean fundamental frequency value was 159.046 Hz for the cases and 192.435 Hz for the controls.Conclusion: Through glottal adaptations, the group of transgender women managed to feminize their voices, presenting voices that were less aperiodic and softer than those of cisgender women. (shrink)

A feminist phenomenological analysis of voice, rooted in both the feminist understanding of the role of voice in identity, agency, and the creation of meaning, and the phenomenological thematization and theorization of phenomenal, lived experience, leads to a deeper understanding of the importance of the materiality of the voices with which we speak, and their role in both subjective and intersubjective experience. Starting from an analysis of the intertwined associations and imageries of the feminine, voice, and embodiment, I (...) discuss the denaturalization and abstraction of voice in standard narratives of voice and voice metaphorization, and the corresponding forgetting of the living, bodily voice. In looking to recall a re-naturalized and immanent corporeality and retrieve the material voice through an account of embodied vocality, I consider examples of the power and immediacy of the corporeal voice in the female operatic voice, and in contrast, the compromised agency and attenuated (inter)subjectivity which attends the impaired or lost physical voice. These vocal counterpoints of presence and absence are often separated by corporeal disturbance or limitation, underscoring the importance of corporeality and the material voice as intermediary between the individual and the social world. This sets the contours of a phenomenology of embodied voice and vocality, holding implications for accounts of identity and intersubjectivity, gendered vocality and expressive agency, and an intercorporeality mediated by the living material voice. (shrink)

The current study investigates classroom interactivity in L2 tertiary literature classrooms in Hong Kong and Taiwan when ESL/efl students engage with and interpret literary texts in classroom talk as a pedagogic process of text recontextualization. It proposes a more ecological-based approach to language and languaging dynamics that is complementary to current social semiotic approaches to multimodality. It also aims to open up a more embodied analysis of the meaning-making process in tertiary literature classrooms. The multimodal investigation of real-time classroom (...) interactivity based on a multi-scalar approach showcases an embodied coordination of vocalization and gesticulation as integral aspects of the dynamic whole-body sense-making activity that arises in the pedagogic process of text recontextualization. The dynamics vary from students’ solo speech in individual presentation to teacher–student interactions in group discussion and to student–student interactions in role-play. The distributed language view of first-order languaging dynamics demonstrates the embodied and distributed dimensions of the real-time classroom interactivity that couples pedagogic subjects to the affordances of their pedagogic environment. It also provides insights into the impact of pedagogic activities on the multi-scalar dynamics of the meaning-making process with reference to embodied speech–gesture coordination. The paper demonstrates the value of applying an ecologically embodied perspective to multimodal studies in classroom research and stimulates a re-thinking of some of the important aspects of classroom interactivity that have received little attention thus far. (shrink)

Song in oscine birds (as in human speech and song) relies upon the rare capacity of vocal learning. Transmission can be vertical, horizontal, or oblique. As a rule, memorization and production by a naïve bird are not simultaneous: the long-term storage of song phrases precedes their first vocal rehearsal by months. While a wealth of detail regarding songbird enculturation has been uncovered by focusing on the apprentice, whether observational learning can fully account for the ontogeny of birdsong, or (...) whether there could also be an element of active teaching involved, has remained an open question. Given the paucity of knowledge on animal cultures, I argue for the utility of an inclusive definition of teaching that encourages data be collected across a wide range of taxa. Borrowing insights from musicology, I introduce the Australian pied butcherbird (Cracticus nigrogularis) into the debate surrounding mechanisms of cultural transmission. I probe the relevance and utility of mentalistic, culture-based, and functionalist approaches to teaching in this species. Sonographic analysis of birdsong recordings and observational data (including photographs) of pied butcherbird behavior at one field site provide evidence that I assess based on criteria laid down by Caro and Hauser, along with later refinements to their functionalist definition. The candidate case of teaching reviewed here adds to a limited but growing body of reports supporting the notion that teaching may be more widespread than is currently realized. Nonetheless, I describe the challenges of confirming that learning has occurred in songbird pupils, given the delay between vocal instruction and production, as well as the low status accorded to anecdote and other observational evidence commonly mustered in instances of purported teaching. As a corrective, I press for an emphasis on biodiversity that will guide the study of teaching beyond human accounts and intractable discipline-specific burdens of proof. (shrink)

In recent years, the opioid crisis in the United States has sparked significant discussion on doctor–patient interactions concerning chronic pain treatments, but little to no attention has been given to investigating the vocal aspects of patient talk. This exploratory sociolinguistic study intends to fill this knowledge gap by employing prosodic discourse analysis to examine context-specific linguistic features used by the interlocutors of two distinct medical interactions. We found that patients employed both low pitch and creak as linguistic resources (...) when describing chronic pain, narrating symptoms and requesting opioids. The situational use of both features informs us about the linguistic ways in which patients frame fraught issues like chronic pain in light of the current opioid crisis. This study expands the breadth of phonetic analysis within the domain of discourse analysis, serving to illuminate discussions surrounding the illocutionary role of the lower vocal tract in expressing emotions. (shrink)

Most previous research on self-disclosure (SD) focused on its perceived retrospective aspects using self-report questionnaires. Few studies investigated actual SD as reflected in interpersonal interaction. We propose a comprehensive approach that combines new objective and dynamic measures of SD that evaluate situated SD with the traditional measures that evaluate stable SD properties. As SD is essentially verbal, we build on linguistic parameters for assessing actual SD, including acoustic features such as intonation and fluency, and verbal features such as the particular (...) choice of words. Critically, the new measures highlight SD here and now and may reveal transient situational factors that affect it, such as the dynamics of interpersonal interaction. Based on these measures, we propose a 3-dimensional evaluation that can portray different profiles of SD and offer a better prediction of SD behavior in different situations. The theoretical and clinical implications of the proposed approach are discussed. (shrink)

The composer of vocal music writes as poet and scholiast. His message is autonomous but not wholly his own. He sets to work with a preexistent artwork before him—a poem or passage of prose, often written without thought of musical setting—and fashions his song under its constraints. He welcomes to his work a second, distinct language, one which corresponds to his own at most only partially in syntax and significance.The composer's unique act of accommodation, structuring his setting after certain (...) requisites of his text, may have far-reaching implications for his musical style—implications too often ignored in today's musical analysis and criticism. Which particular textual characteristics the composer chooses to emphasize will depend on much beyond the text itself: on his view of the nature and capabilities of musical discourse, shaped internally by musical procedures developed from the canon of his predecessors, externally by general expectations and aspirations of his culture; and on his equally rich conception of the tradition behind his text. The text-music interface is therefore a provocative area of exploration for critic and historian alike. It points to the expressive aims of a composer in a given work, and it elucidates broader cultural assumptions concerning the nature of musical and poetic discourse.Gary Tomlinson, assistant professor of music history at the University of Pennsylvania, is the author of articles on Monteverdi, early opera, and Verdi. He is currently writing a book on Monteverdi and late-Renaissance culture. (shrink)

Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity analysis (...) (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

In spoken interactions, interlocutors carefully plan and time their utterances, minimising gaps and overlaps between consecutive turns. Cross-linguistic comparison has indicated that spoken languages vary only minimally in terms of turn-timing, and language acquisition research has shown pre-linguistic vocal turn-taking in the first half year of life. These observations suggest that the turn-taking system may provide a fundamental basis for our linguistic capacities. The question remains however to what extent our capacity for rapid turn-taking is determined by modality constraints. (...) The avoidance of overlapping turns could be motivated by the difficulty of hearing and speaking at the same time. If so, turn-taking in sign might show greater toleration for overlap. Alternatively, signed conversations may show a similar distribution of turn-timing as spoken languages, thus avoiding both gaps and overlaps. To address this question we look at turn-timing in question-answer sequences in spontaneous conversations of Sign Language of the Netherlands. The findings indicate that although there is considerable overlap in two or more signers' articulators in conversation, when proper allowance is made for onset preparation, post-utterance retraction and the intentional holding of signs for response, turn-taking latencies in sign look remarkably like those reported for spoken language. This is consistent with the possibility that, at least with regard to responses to questions, speakers and signers follow similar time courses in planning and producing their utterances in on-going conversation. This suggests that turn-taking systems may well be a shared cognitive infrastructure underlying all modern human languages, both spoken and signed. (shrink)

Studies have shown that children vary in the trajectories of their language development after cochlear implant (CI) activation. The aim of the present study is to assess the preverbal and lexical development of a group of 20 Italian-speaking children observed longitudinally before CI activation and at three, 6 and 12 months after CI surgery (mean age at the first session: 17.5 months; SD: 8.3; and range: 10–35). The group of children with CIs (G-CI) was compared with two groups of normally-hearing (...) (NH) children, one age-matched (G-NHA; mean age at the first session: 17.4 months; SD: 8.0; and range: 10–34) and one language-matched (G-NHL;n= 20; mean age at the first session: 11.2 months; SD: 0.4; and range: 11–12). The spontaneous interactions between children and their mothers during free-play were transcribed. Preverbal babbling production and first words were considered for each child. Data analysis showed significant differences in babbling and word production between groups, with a lower production of words in children with CIs compared to the G-NHA group and a higher production of babbling compared to the G-NHL children. Word production 1 year after activation was significantly lower for the children with CIs than for language-matched children only when maternal education was controlled for. Furthermore, latent class growth analysis showed that children with CIs belonged mainly to classes that exhibited a low level of initial production but also progressive increases over time. Babbling production had a statistically significant effect on lexical growth but not on class membership, and only for groups showing slower and constant increases. Results highlight the importance of preverbal vocal patterns for later lexical development and may support families and speech therapists in the early identification of risk and protective factors for language delay in children with CIs. (shrink)

This study investigated entrepreneurs’ motivations to implement circular economy (CE) practices and the ways in which their approaches to CE practices differed by their sociocultural context. The research aimed to contrast the contemporary instrumental perspective on CE through an ecologically dominant logic. The empirical analysis focused on Finland and Japan, two countries with distinct sociocultural contexts but similar regulatory environments regarding the CE. The study analysed entrepreneurs’ motivations towards the CE through self-determination theory that makes a distinction between different (...) levels of internalization in motivations. The Finnish entrepreneurs were characterised by more frequent intertwined intrinsic/transcendent motivations and a vocal approach to CE. The Japanese entrepreneurs’ motivations were more varied; some were intrinsically interested in the CE, while some were even unaware of the CE concept despite operating CE businesses. The Japanese entrepreneurs resorted to masking their CE businesses to better relate with the surrounding linear system. The study shows how the individualistic Finnish culture fostered progress on the CE, while the collectivistic Japanese culture emphasised the need for relatedness and caused stagnation in the CE in its society. (shrink)

Nonverbal signals color the meanings of interpersonal relationships. Humans rely on facial, head, postural, and vocal signals to express relational messages along continua. Three of relevance are dominance-submission, composure-nervousness and trust-distrust. Machine learning and new automated analysis tools are making possible a deeper understanding of the dynamics of relational communication. These are explored in the context of group interactions during a game entailing deception. The “messiness” of studying communication under naturalistic conditions creates many measurement and design obstacles that (...) are discussed here. Possibilities for their mitigation are considered. (shrink)

In this paper I discuss scientific and philosophical issues related to the interdisciplinary area of Neurolinguistics, focusing on the origin and nature of human language. What kind of evolutionary process leads to the emergence of language? I propose that this process began with the adoption of bipedalism, triggering the co-evolution of new brain structures and forms of social organization. This process created a context that favoured the emergence of articulated vocalization using a combinatorial linguistic system. The identification of sufficient conditions (...) for the emergence of human language in this context depends on the paradigm adopted for the analysis. I look for a synthesis of nativist and constructivist paradigms, showing that both contribute to an understanding of the origin and nature of human language. (shrink)

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been (...) abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved. (shrink)

Facial expression is a mode of close‐proximity non‐vocal communication used by primates and is produced by mimetic/facial musculature. Arguably, primates make the most‐intricate facial displays and have some of the most‐complex facial musculature of all mammals. Most of the earlier ideas of primate mimetic musculature, involving its function in facial displays and its evolution, were essentially linear “scala natural” models of increasing complexity. More‐recent work has challenged these ideas, suggesting that ecological factors and social systems have played a much (...) larger role in explaining the diversity of structures than previously believed. The present review synthesizes the evidence from gross muscular, microanatomical, behavioral and neurobiological studies in order to provide a preliminary analysis of the factors responsible for the evolution of primate facial musculature with comparisons to general mammals. In addition, the unique structure, function and evolution of human mimetic musculature are discussed, along with the potential influential roles of human speech and eye gaze. BioEssays 30:212–225, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

Earlier in the pages of this journal (p 481), Wendler and Miller offered the "net risks test" as an alternative approach to the ethical analysis of benefits and harms in research. They have been vocal critics of the dominant view of benefit-harm analysis in research ethics, which encompasses core concepts of duty of care, clinical equipoise and component analysis. They had been challenged to come up with a viable alternative to component analysis which meets five (...) criteria. The alternative must (1) protect research subjects; (2) allow clinical research to proceed; (3) explain how physicians may offer trial enrolment to their patients; (4) address the challenges posed by research containing a mixture of interventions and (5) define ethical standards according to which the risks and potential benefits of research may be consistently evaluated. This response argues that the net risks test meets none of these criteria and concludes that it is not a viable alternative to component analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of virtuosity (...) which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

This work deals with Mollā Gūrānı̄’s critique (d. 813/1488) of Qāḍı̄ al-Bayḍawı̄ (d. 596/1200) and Zamakhsharı̄ (d. 538/1144). The Fātiḥ̣a and Baqara sūras in his manuscript tafsı̄r “Ghāyat al-Amānı̄” are chosen as the texts to examplify Mollā Gūrānı̄’s critique. His criticism is mostly related to language, qirāʾa (recitation and vocalization of Qur’ānic text), conceptual meaning and disagreement in interpretations of the Qur’ānic verses in question. Gūrānı̄ primarly criticisez Qāḍı̄ due to his reputation among Ottoman scholars. Guranı̄ has not only criticized (...) Kādı̄ and Zamahsharı̄ in the commentary of the surahs Fātiḥ̣a and Baqara but also Taftāzānı̄ and Kavāshı̄. This clearly shows thah he is a well-versed scholar in researching especially in comperative analysis. In this study, our investigation is limited to, however, Zemakhsharı̄ and Qāḍı̄. This stuyd shows that Zemakhsharı̄ is strictly bound to Ahl al-Sunnah. Moreover, the hadith reports are considerably important for him in understanding and interpreting the Qur’ānic verses. He closely follows the interpretive traditions of early Muslim scholars, especially on the matters that Muslim scholars had an argeemnet.Summary: This study discusses the criticism of Mollā Gūrānı̄ (d. 813/1488), one of the Ottoman commentary scholars, against Qāḍı̄ al-Bayḍāwı̄ (d. 685/1286) and Zamakhsharı̄ (d. 538/1144). The two Qur’ānic Surahs Fātiḥ̣a and Baqara are chosen from his critiques in a manuscript of his commentary called Ghāyat al-Amānı̄. Mollā Gūrānı̄’s manuscript is registered in Sulaymāniye Library, Dāmād Ibrāhı̄m Pasha Section at number 146 and consists of 352 pages in total. This copy is one of the oldest among other its existent copies. The main reason of our preference of this copy is that it is both legible and at the end of the book (the farāgh part), it writes that it was proofread by his author himself and that handwriting notes at the margins of the pages belonged to the author. We have examined this copy by comparing another copy which is again in the Sulaymāniye Library, Haji Maḥmūd Efendı̄ section at number 162, consisting of 484 pages in total, comparatively. We have examined critiques of 41 verses in total from Fātiḥ̣a and Baqara surahs.Gūrānī’s critiques of Zamakhsharı̄ and Qāḍı̄ are too wide to be discussed within the limits of an article. Therefore, we have tried to briefly introduce these critiques. While presenting the commentators views, we tried to make their inexplicit expressions clear and furthermore elaborate their purposes by making use of some other resources. We have to say that we also used bracketed explanatory statements while giving commentators opinions.Most of the critiques of Gūrānı̄ are aimed at Qāḍı̄ since the latter’s commentary was one of the favourite ones among Ottoman intellectual circles. Therefore, in writing his commentary manuscript, Gūrānı̄ ambivalently both followed and criticized Qāḍı̄’s commentary. When Fātiḥ̣a and Baqara surahs are used as a base, it is evident that Gūrānı̄’s commentary Ghāyat al-Amānı̄ is a reason-based (dirāyah) in line with those of Zamakhsharı̄ and Qāḍı̄ as commentary methodology. Gūrānı̄ modelled himself so much on Qāḍı̄ in this commentary of his that it seems as an abridged copy of Qāḍı̄’s. Ghāyat al-Amānı̄ as a commentary example of Ottoman era shows that the commentary methodology of the time did not change even four hundred years after Zamakhsharı̄.It is possible to say that Gūrānı̄ criticized Zamakhsharı̄ and Qāḍı̄ in this commentary in a meticulous manner. Although many of his critiques are disputable, his rigorous approach to texts and his courage of critique, instead of imitative attitude, of Qāḍı̄’s commentary, which was held in high esteem in madrasahs of the time, and of commentary of Zamakhsharı̄, who was competent in Arabic language, is of great significance. Gūrānı̄ used a comparative scientific methodology and was a prominent. When his commentary manuscript examined it can be seen that it was not only Zamakhsharı̄ and Qāḍı̄ but also Taftāzānı̄ (d. 792/1390) and Kavāshı̄ (d. 680/1281) who got their shares from his critiques. Most of Gūrānı̄’s critiques were on the subtleties of Arabic language. He sometimes expressed his criticism using Arabic grammar rules and sometimes rhetoric requirements. His other critiques involved topics such as, conceptual meaning, verses integrity, recitation and some interpretations of verses that he disagreed with. His critical method was based on the integrity of the Qurʾān, interpretive traditions, Salaf’s views and logical contradictions. We ought to mention that Gūrānı̄ showed his strong commitment to his predecessors and scholars for matters on which they had consensus. We comprehend this commitment on occasions when he rejected the claim that, for instance, a given form of qirā’a from Salaf was wrong according to Arabic grammar in favour of Salafı̄ reciter. The aim of this study is to give an idea about commentary understandings and methods of commentators in Ottoman era and to make contribution to introducing Gūrānı̄, who criticized Zamakhsharı̄ and Qāḍı̄, two prominent commentators competent in their field, to researchers in terms of his attribute as a critic. An earlier study on his critiques made in this commentary of Gūrānı̄ only covered his critiques of Qāḍı̄ for some of his interpretations in Fātiḥ̣a and Baqara surahs. Therefore, another important factor leading to this study was to cover all critiques he made against the views and comments of both Zamakhsharı̄ and those shared by Zamakhsharı̄ and Qāḍı̄. Hence, this study aims to contribute to the fiedl as an analytical study or a translation made by researchers on this concise and handwritten manuscript.Some conspicuous features are seen in Gūrānı̄’s critiques. As he pointed out in his reviews, in case of subjects with availability of narratives (rivāyah) and of suitability of the literal meaning of verses, he did not prefer allegorical interpretation. He gives the impression that he based his reviews on Ahl al-Sunnah, and he took pains to follow Ashaʿrı̄te school of thought. Although Gūrānı̄, did not see harm in sharing the same things with Zamakhsharı̄, opposing Qāḍı̄ as regards Arabic language, he was always in opposition with Zamakhsharı̄ in relation to commitment to sectarian view and Ḥadı̄ths. It can also be said that Gūrānı̄ did not favour esoteric-allusive commentary style.It can also be said that Gūrānı̄ had sound and deep knowledge in the field of Kalām. This can be deduced from his considering Qāḍı̄’s arguments to criticize Muʿtazila as insubstantial and sometimes from his criticism of Qāḍı̄ for his careless selection of phrases he used in theological issues. Meanwhile, Gūrānı̄ criticized some views which did not belong to Qāḍı̄. For example, it is seen that he criticized Qāḍı̄ for his citation of an opinion through the phrase “it is said that” as if it was his own view by writing an annotation on the margin that it was Qāḍı̄ who said it. In our opinion, the most important thing that the critique of Gūrānı̄ shows is his scholarly identity and his outspoken character of enunciating of what he believed scholarly and conscientiously. This, also, shows the existence of critical thinking in Ottoman scholarship tradition. (shrink)

This paper seeks to show a kind of representation of Evangelicalism by mainstream Brazilian press media outlets during the last decade, and how it has helped to build some ideas around that religious identity. The second purpose is to demonstrate that evangelical news media groups have reacted to such representation, and denounced the inability of the secular press to properly vocalize public interest. The paper employs Discourse Analysis resources and probes content published between 2007 and 2019 by secular media (...) outlets as well as religious ones. Its findings reveal an emerging dispute around the sense of "public" by secular and religious news media groups. (shrink)

The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio Salieri – a (...) musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high. (shrink)

Social relationships are constructed by and through the relational communication that people exchange. Relational messages are implicit nonverbal and verbal messages that signal how people regard one another and define their interpersonal relationships—equal or unequal, affectionate or hostile, inclusive or exclusive, similar or dissimilar, and so forth. Such signals can be measured automatically by the latest machine learning software tools and combined into meaningful factors that represent the socioemotional expressions that constitute relational messages between people. Relational messages operate continuously on (...) a parallel track with verbal communication, implicitly telling interactants the current state of their relationship and how to interpret the verbal messages being exchanged. We report an investigation that explored how group members signal these implicit messages through multimodal behaviors measured by sensor data and linked to the socioemotional cognitions interpreted as relational messages. By use of a modified Brunswikian lens model, we predicted perceived relational messages of dominance, affection, involvement, composure, similarity and trust from automatically measured kinesic, vocalic and linguistic indicators. The relational messages in turn predicted the veracity of group members. The Brunswikian Lens Model offers a way to connect objective behaviors exhibited by social actors to the emotions and cognitions being perceived by other interactants and linking those perceptions to social outcomes. This method can be used to ascertain what behaviors and/or perceptions are associated with judgments of an actor’s veracity. Computerized measurements of behaviors and perceptions can replace manual measurements, significantly expediting analysis and drilling down to micro-level measurement in a previously unavailable manner. (shrink)