Magnus Holmén and Maureen McKelvey
- Published in print:
- 2006
- Published Online:
- May 2006
- ISBN:
- 9780199290475
- eISBN:
- 9780191603495
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199290474.003.0010
- Subject:
- Economics and Finance, Economic Systems
This chapter poses the question: How we can analyze, conceptually and empirically, whether or not certain types of change have occurred? It points out research areas to further address how, why, and ...
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This chapter poses the question: How we can analyze, conceptually and empirically, whether or not certain types of change have occurred? It points out research areas to further address how, why, and in what dimensions such transformation has occurred. It first addresses how the amount or degree of ‘change’ be conceptualized, as compared to the amount or degree of ‘not change’. Three concepts are introduced: novelty, destruction, and renewal. The chapter then explains six points about how flexibility and stability can be understood from a paradigmatic perspective on the innovating and transforming economy.Less
This chapter poses the question: How we can analyze, conceptually and empirically, whether or not certain types of change have occurred? It points out research areas to further address how, why, and in what dimensions such transformation has occurred. It first addresses how the amount or degree of ‘change’ be conceptualized, as compared to the amount or degree of ‘not change’. Three concepts are introduced: novelty, destruction, and renewal. The chapter then explains six points about how flexibility and stability can be understood from a paradigmatic perspective on the innovating and transforming economy.
John F. Padgett and Walter W. Powell
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691148670
- eISBN:
- 9781400845552
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691148670.001.0001
- Subject:
- Sociology, Economic Sociology
The social sciences have sophisticated models of choice and equilibrium but little understanding of the emergence of novelty. Where do new alternatives, new organizational forms, and new types of ...
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The social sciences have sophisticated models of choice and equilibrium but little understanding of the emergence of novelty. Where do new alternatives, new organizational forms, and new types of people come from? Combining biochemical insights about the origin of life with innovative and historically oriented social network analyses, this book develops a theory about the emergence of organizational, market, and biographical novelty from the coevolution of multiple social networks. The book demonstrates that novelty arises from spillovers across intertwined networks in different domains. In the short run actors make relations, but in the long run relations make actors. This theory of novelty emerging from intersecting production and biographical flows is developed through formal deductive modeling and through a wide range of original historical case studies. The book builds on the biochemical concept of autocatalysis—the chemical definition of life—and then extends this autocatalytic reasoning to social processes of production and communication. The chapters analyze a wide range of cases of emergence. They look at the emergence of organizational novelty in early capitalism and state formation; they examine the transformation of communism; and they analyze with detailed network data contemporary science-based capitalism: the biotechnology industry, regional high-tech clusters, and the open source community.Less
The social sciences have sophisticated models of choice and equilibrium but little understanding of the emergence of novelty. Where do new alternatives, new organizational forms, and new types of people come from? Combining biochemical insights about the origin of life with innovative and historically oriented social network analyses, this book develops a theory about the emergence of organizational, market, and biographical novelty from the coevolution of multiple social networks. The book demonstrates that novelty arises from spillovers across intertwined networks in different domains. In the short run actors make relations, but in the long run relations make actors. This theory of novelty emerging from intersecting production and biographical flows is developed through formal deductive modeling and through a wide range of original historical case studies. The book builds on the biochemical concept of autocatalysis—the chemical definition of life—and then extends this autocatalytic reasoning to social processes of production and communication. The chapters analyze a wide range of cases of emergence. They look at the emergence of organizational novelty in early capitalism and state formation; they examine the transformation of communism; and they analyze with detailed network data contemporary science-based capitalism: the biotechnology industry, regional high-tech clusters, and the open source community.
Tor Hernes and Sally Maitlis (eds)
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199594566
- eISBN:
- 9780191595721
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199594566.001.0001
- Subject:
- Business and Management, Organization Studies
This book is the first in a series of volumes which explore perspectives on process theories, an emerging approach to the study of organizations that focuses on (understanding) activities, ...
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This book is the first in a series of volumes which explore perspectives on process theories, an emerging approach to the study of organizations that focuses on (understanding) activities, interactions, and change as essential properties of organizations rather than structures and state — an approach which prioritizes activity over product, change over persistence, novelty over continuity, and expression over determination. Process and sensemaking may be seen as mutually interlocking phenomena and, as such, are cornerstones in process thinking, This book brings together contributions from an international group of scholars energized by process organization studies. The chapters offer perspectives from different disciplines, insights from diverse theoretical traditions and contexts, and parallels made with a range of cultural forms, including art, poetry, and cookery. The chapters exhibit a clear emphasis on a process ontology, process theorizing, and narrative thinking. Recurrent themes emerge that distinguish process theorizing from the more logico-scientific, variance-oriented research that dominates organization studies today.Less
This book is the first in a series of volumes which explore perspectives on process theories, an emerging approach to the study of organizations that focuses on (understanding) activities, interactions, and change as essential properties of organizations rather than structures and state — an approach which prioritizes activity over product, change over persistence, novelty over continuity, and expression over determination. Process and sensemaking may be seen as mutually interlocking phenomena and, as such, are cornerstones in process thinking, This book brings together contributions from an international group of scholars energized by process organization studies. The chapters offer perspectives from different disciplines, insights from diverse theoretical traditions and contexts, and parallels made with a range of cultural forms, including art, poetry, and cookery. The chapters exhibit a clear emphasis on a process ontology, process theorizing, and narrative thinking. Recurrent themes emerge that distinguish process theorizing from the more logico-scientific, variance-oriented research that dominates organization studies today.
Frederick Grinnell
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195064575
- eISBN:
- 9780199869442
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195064575.003.0003
- Subject:
- Biology, Evolutionary Biology / Genetics
Chapter 3 describes how, through the credibility process, the individual's mine, here, now transforms into the community's anyone, anywhere, anytime. The possibility of credible knowledge represents ...
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Chapter 3 describes how, through the credibility process, the individual's mine, here, now transforms into the community's anyone, anywhere, anytime. The possibility of credible knowledge represents a fundamental belief of science that originates in the repeatability, continuity, and intersubjectivity of everyday life experience. The credibility process involves insiders and outsiders with respect to every discovery claim. Interaction and confrontation of their respective thought styles becomes the dialectic of this process. Discovery claims made credible will be incorporated into and refashion the community's prevailing thought style — the more novel a discovery claim, the greater its potential impact. Novelty also challenges intersubjectivity, and highly novel discovery claims sometimes are received with skepticism by the research community. What appears credible one day may be viewed as error the next, and vice versa, hence the self-correcting feature of science.Less
Chapter 3 describes how, through the credibility process, the individual's mine, here, now transforms into the community's anyone, anywhere, anytime. The possibility of credible knowledge represents a fundamental belief of science that originates in the repeatability, continuity, and intersubjectivity of everyday life experience. The credibility process involves insiders and outsiders with respect to every discovery claim. Interaction and confrontation of their respective thought styles becomes the dialectic of this process. Discovery claims made credible will be incorporated into and refashion the community's prevailing thought style — the more novel a discovery claim, the greater its potential impact. Novelty also challenges intersubjectivity, and highly novel discovery claims sometimes are received with skepticism by the research community. What appears credible one day may be viewed as error the next, and vice versa, hence the self-correcting feature of science.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all ...
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Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all occurrences of the adjective καινόσ – which means ‘new’, but also ‘original’, ‘novel’ – and related terms in Chariton and other novelists. My result is that Chariton invokes the idea of ‘novelty’ (καινότησ) particularly when he refers to something related to his inventing Narratives about Callirhoe: new motifs, new twists in the plot, new narratives. A comparison with the other authors of ideal novels demonstrates that they neither explicitly claim originality for their writing nor use the adjective καινόσ or similar terms of novelty as a fundamental and wide‐ranging category of invention.Less
Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all occurrences of the adjective καινόσ – which means ‘new’, but also ‘original’, ‘novel’ – and related terms in Chariton and other novelists. My result is that Chariton invokes the idea of ‘novelty’ (καινότησ) particularly when he refers to something related to his inventing Narratives about Callirhoe: new motifs, new twists in the plot, new narratives. A comparison with the other authors of ideal novels demonstrates that they neither explicitly claim originality for their writing nor use the adjective καινόσ or similar terms of novelty as a fundamental and wide‐ranging category of invention.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's ...
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In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's poetics and leads on to a recent and unexpected model author: although there are some Homeric reminiscences in Chariton's Rumour, fuller functional and textual parallels in Virgil's Aeneid lead to believe that Chariton derived his motif from the Roman epic poet.Less
In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's poetics and leads on to a recent and unexpected model author: although there are some Homeric reminiscences in Chariton's Rumour, fuller functional and textual parallels in Virgil's Aeneid lead to believe that Chariton derived his motif from the Roman epic poet.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0002
- Subject:
- Music, Opera, Popular
This chapter and the next treat representations of Italian immigrants in operatic novelty songs. Chapter 1 examines songs in which lowbrow Italian Americans assert a right of ownership to opera that ...
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This chapter and the next treat representations of Italian immigrants in operatic novelty songs. Chapter 1 examines songs in which lowbrow Italian Americans assert a right of ownership to opera that is represented as being more authentic than that of the social elite that aspired to such ownership. These songs are best understood in the context of period concepts of whiteness, in which lower-class southern Italians were construed to be closer to African Americans than to Anglo-Americans. Songs that quote Mascagni's Cavalleria rusticana attest to that opera's popularity, and transformations, in the United States.Less
This chapter and the next treat representations of Italian immigrants in operatic novelty songs. Chapter 1 examines songs in which lowbrow Italian Americans assert a right of ownership to opera that is represented as being more authentic than that of the social elite that aspired to such ownership. These songs are best understood in the context of period concepts of whiteness, in which lower-class southern Italians were construed to be closer to African Americans than to Anglo-Americans. Songs that quote Mascagni's Cavalleria rusticana attest to that opera's popularity, and transformations, in the United States.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0003
- Subject:
- Music, Opera, Popular
The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan ...
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The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan and Manhattan opera houses. They highlight the contrast between those immigrants' sincere but noisy appreciation of opera and the more refined by less genuine response of elite operagoers. Gus Edwards's “My Cousin Caruso” emerges as an influential model for the topical operatic novelty song.Less
The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan and Manhattan opera houses. They highlight the contrast between those immigrants' sincere but noisy appreciation of opera and the more refined by less genuine response of elite operagoers. Gus Edwards's “My Cousin Caruso” emerges as an influential model for the topical operatic novelty song.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0004
- Subject:
- Music, Opera, Popular
The novelty songs in this chapter and the next two use opera, an arena in which women had come to exert some degree of autonomy, to comment on the first wave of feminism. The fictional women in the ...
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The novelty songs in this chapter and the next two use opera, an arena in which women had come to exert some degree of autonomy, to comment on the first wave of feminism. The fictional women in the songs in Chapter 3 study singing, aspire to be on the musical stage, or already sing professionally. The students are portrayed as naïve victims of male music teachers, and the professionals and would-be professionals are vain and empty-headed as best, conniving and duplicitous at worst. Much of the animus directed toward professional singers had to do with the supposed indecency of feminine self-display in public.Less
The novelty songs in this chapter and the next two use opera, an arena in which women had come to exert some degree of autonomy, to comment on the first wave of feminism. The fictional women in the songs in Chapter 3 study singing, aspire to be on the musical stage, or already sing professionally. The students are portrayed as naïve victims of male music teachers, and the professionals and would-be professionals are vain and empty-headed as best, conniving and duplicitous at worst. Much of the animus directed toward professional singers had to do with the supposed indecency of feminine self-display in public.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0005
- Subject:
- Music, Opera, Popular
Although much has been written about the “Salomania” that Richard Strauss's opera Salome inspired in the United States, little has been written about the novelty songs that contributed to that mania. ...
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Although much has been written about the “Salomania” that Richard Strauss's opera Salome inspired in the United States, little has been written about the novelty songs that contributed to that mania. Those songs, examined in this chapter, reveal that much of the uproar was not so much about the opera's supposed indecency as it was the association of that indecency with the “hootchy-kootchy” dancers at the World's Columbian Exposition (Chicago, 1893) and later at Coney Island and other places of lowbrow amusement.Less
Although much has been written about the “Salomania” that Richard Strauss's opera Salome inspired in the United States, little has been written about the novelty songs that contributed to that mania. Those songs, examined in this chapter, reveal that much of the uproar was not so much about the opera's supposed indecency as it was the association of that indecency with the “hootchy-kootchy” dancers at the World's Columbian Exposition (Chicago, 1893) and later at Coney Island and other places of lowbrow amusement.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0007
- Subject:
- Music, Opera, Popular
This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. ...
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This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. Chapter 6 is an in-depth treatment of a single song, Ted Snyder and Irving Berlin's “That Opera Rag” (1910). Through a close reading of the music and lyrics, an examination of the song's use in a stage comedy, Getting a Polish, and a consideration of the stage persona of May Irwin, the actress who interpolated the song in that comedy, the chapter demonstrates how contemporary audiences could perceive multiple levels of meaning that interact in a complex piece of social and musical commentary.Less
This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. Chapter 6 is an in-depth treatment of a single song, Ted Snyder and Irving Berlin's “That Opera Rag” (1910). Through a close reading of the music and lyrics, an examination of the song's use in a stage comedy, Getting a Polish, and a consideration of the stage persona of May Irwin, the actress who interpolated the song in that comedy, the chapter demonstrates how contemporary audiences could perceive multiple levels of meaning that interact in a complex piece of social and musical commentary.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0008
- Subject:
- Music, Opera, Popular
The final chapter begins with a survey of ragtime-era novelty songs about African American opera lovers. It continues with an examination of songs commenting on European fascination with ragtime and ...
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The final chapter begins with a survey of ragtime-era novelty songs about African American opera lovers. It continues with an examination of songs commenting on European fascination with ragtime and with the music's appeal to white Americans. Emerging from these songs is a sense that in its popular music the United States was developing its own musical culture, worthy of standing alongside the high cultural legacy of Europe.Less
The final chapter begins with a survey of ragtime-era novelty songs about African American opera lovers. It continues with an examination of songs commenting on European fascination with ragtime and with the music's appeal to white Americans. Emerging from these songs is a sense that in its popular music the United States was developing its own musical culture, worthy of standing alongside the high cultural legacy of Europe.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.001.0001
- Subject:
- Music, History, Western
Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century ...
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Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.Less
Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.
Günter P. Wagner
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691156460
- eISBN:
- 9781400851461
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691156460.003.0005
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter examines the evolutionary processes that led to the origin of body parts, with particular emphasis on the concept of “novelties.” It first considers the distinction between the evolution ...
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This chapter examines the evolutionary processes that led to the origin of body parts, with particular emphasis on the concept of “novelties.” It first considers the distinction between the evolution of adaptations and the origin of novelties, and more specifically innovations, before proposing a perspective of what evolutionary novelties are. To this end, a definition of morphological novelty is given, followed by a discussion of phenomenological modes for the origin of Type I novelties such as the differentiation of repeated elements. The chapter also describes how natural selection creates character individuality and concludes with an analysis of modularity, functional specialization, and robustness and canalization.Less
This chapter examines the evolutionary processes that led to the origin of body parts, with particular emphasis on the concept of “novelties.” It first considers the distinction between the evolution of adaptations and the origin of novelties, and more specifically innovations, before proposing a perspective of what evolutionary novelties are. To this end, a definition of morphological novelty is given, followed by a discussion of phenomenological modes for the origin of Type I novelties such as the differentiation of repeated elements. The chapter also describes how natural selection creates character individuality and concludes with an analysis of modularity, functional specialization, and robustness and canalization.
Günter P. Wagner
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691156460
- eISBN:
- 9781400851461
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691156460.003.0006
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter examines the developmental mechanisms underlying evolutionary novelties. It first considers the role of the environment in evolutionary innovations, with particular emphasis on how ...
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This chapter examines the developmental mechanisms underlying evolutionary novelties. It first considers the role of the environment in evolutionary innovations, with particular emphasis on how environmental perturbations result in the release of cryptic genetic variation. It then explores where the positional information for novel characters comes from before explaining derived mechanical stimuli and the origin of novelties in the avian hind limb skeleton. It also discusses the origin of character identity networks and the evolution of novel signaling centers, focusing on two novel morphological characters: the butterfly eyespot and the turtle carapace. Finally, it reflects on the developmental biology of novelties, emphasizing the complex and multifaceted nature of the evolutionary changes in the developmental mechanisms that contribute to the origin of novel body parts.Less
This chapter examines the developmental mechanisms underlying evolutionary novelties. It first considers the role of the environment in evolutionary innovations, with particular emphasis on how environmental perturbations result in the release of cryptic genetic variation. It then explores where the positional information for novel characters comes from before explaining derived mechanical stimuli and the origin of novelties in the avian hind limb skeleton. It also discusses the origin of character identity networks and the evolution of novel signaling centers, focusing on two novel morphological characters: the butterfly eyespot and the turtle carapace. Finally, it reflects on the developmental biology of novelties, emphasizing the complex and multifaceted nature of the evolutionary changes in the developmental mechanisms that contribute to the origin of novel body parts.
Günter P. Wagner
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691156460
- eISBN:
- 9781400851461
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691156460.003.0007
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter examines the molecular genetics of evolutionary novelties. In particular, it investigates which molecular mechanisms might be involved in the origination of novel gene regulatory ...
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This chapter examines the molecular genetics of evolutionary novelties. In particular, it investigates which molecular mechanisms might be involved in the origination of novel gene regulatory networks (and, thus, character identity networks) and what these mechanisms imply for the origin of novel characters. The chapter begins with a discussion of the complex problem of the evolution of transcriptional regulation by focusing on the evolution of cis-regulatory elements (CREs) and the evolution of transcription factor proteins. It then asks whether novel pigment spots, such as the Drosophila wing spots, are novelties. It also explores an evolutionary novelty known as sex comb and the role of transposable elements in the origin of novel CREs. Finally, it considers the role of gene duplications, the evolution of micro-RNAs (miRNAs), and the possibility of a mechanistic difference between adaptation and innovation.Less
This chapter examines the molecular genetics of evolutionary novelties. In particular, it investigates which molecular mechanisms might be involved in the origination of novel gene regulatory networks (and, thus, character identity networks) and what these mechanisms imply for the origin of novel characters. The chapter begins with a discussion of the complex problem of the evolution of transcriptional regulation by focusing on the evolution of cis-regulatory elements (CREs) and the evolution of transcription factor proteins. It then asks whether novel pigment spots, such as the Drosophila wing spots, are novelties. It also explores an evolutionary novelty known as sex comb and the role of transposable elements in the origin of novel CREs. Finally, it considers the role of gene duplications, the evolution of micro-RNAs (miRNAs), and the possibility of a mechanistic difference between adaptation and innovation.
Günter P. Wagner
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691156460
- eISBN:
- 9781400851461
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691156460.003.0013
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter focuses on the developmental evolution of flowers and flower organ identity. It reviews some of the most important insights that have been gained from research on the developmental ...
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This chapter focuses on the developmental evolution of flowers and flower organ identity. It reviews some of the most important insights that have been gained from research on the developmental evolution of flowers regarding the nature of organ identity, organ integration, and the origin of evolutionary novelties. The chapter begins with a discussion of the uniqueness of flowers and the evolution of phylogeny and flower characters in angiosperms. It then examines the genetics of canonical flower development, along with the developmental genetic architecture of the flower Bauplan. It also considers flower variation and the identities of novel flower organs, the origin of the bisexual flower developmental type, perianth evolution and the origin of petals, and the realization that additional organ identities can evolve after gene duplications.Less
This chapter focuses on the developmental evolution of flowers and flower organ identity. It reviews some of the most important insights that have been gained from research on the developmental evolution of flowers regarding the nature of organ identity, organ integration, and the origin of evolutionary novelties. The chapter begins with a discussion of the uniqueness of flowers and the evolution of phylogeny and flower characters in angiosperms. It then examines the genetics of canonical flower development, along with the developmental genetic architecture of the flower Bauplan. It also considers flower variation and the identities of novel flower organs, the origin of the bisexual flower developmental type, perianth evolution and the origin of petals, and the realization that additional organ identities can evolve after gene duplications.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0006
- Subject:
- Music, History, Western
The quartets invariably include an interior minuet-trio complex (each of the ten early, five-movement cycles has two). Whereas a moderate, beat-marking pace prevails among earlier quartets, a trend ...
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The quartets invariably include an interior minuet-trio complex (each of the ten early, five-movement cycles has two). Whereas a moderate, beat-marking pace prevails among earlier quartets, a trend toward increasingly fast tempos can be discerned, along with the tendency toward a measure- rather than beat-oriented rhythmic impulse. Among the movements' binary and rounded binary forms, internal proportions as well as thematic and tonal correspondences are varied, and there are examples of a vastly extended second part. Throughout the repertory, adherence to conventional practices serves as a backdrop for novelties of rhythm, texture, thematic process, and relationship between minuet and trio. In a small but distinctive group of dance movements, an open-ended trio connects to the return of the minuet proper without a break.Less
The quartets invariably include an interior minuet-trio complex (each of the ten early, five-movement cycles has two). Whereas a moderate, beat-marking pace prevails among earlier quartets, a trend toward increasingly fast tempos can be discerned, along with the tendency toward a measure- rather than beat-oriented rhythmic impulse. Among the movements' binary and rounded binary forms, internal proportions as well as thematic and tonal correspondences are varied, and there are examples of a vastly extended second part. Throughout the repertory, adherence to conventional practices serves as a backdrop for novelties of rhythm, texture, thematic process, and relationship between minuet and trio. In a small but distinctive group of dance movements, an open-ended trio connects to the return of the minuet proper without a break.
Elkhonon Goldberg and Dmitri Bougakov
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195176704
- eISBN:
- 9780199864706
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195176704.003.0002
- Subject:
- Neuroscience, History of Neuroscience
This chapter examines how neuropsychological theories posited by Luria continue to evolve in the modern era. In particular, it looks at how Luria’s functional systems theory has been expanded upon ...
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This chapter examines how neuropsychological theories posited by Luria continue to evolve in the modern era. In particular, it looks at how Luria’s functional systems theory has been expanded upon and elaborated through such theories as the gradiental theory of cognitive cortical organization and cognitive novelty/familiarity theory of hemispheric specialization. The chapter also examines the differences between clinical neuropsychology of today and during Luria’s times. More specifically, it examines how the thrust of clinical neuropsychology has shifted from neuroanatomical diagnosis to fine cognitive analysis of diverse neurological and neuropsychiatric disorders, cognitive rehabilitation, monitoring the efficacy of cognotropic medications, and design of cognitive activation paradigms in functional neuroimaging studies. In sum, this chapter shows that Luria’s monumental contributions to neuropsychology and cognitive neuroscience continue to be relevant and to have a lastingeffect on the development of the field.Less
This chapter examines how neuropsychological theories posited by Luria continue to evolve in the modern era. In particular, it looks at how Luria’s functional systems theory has been expanded upon and elaborated through such theories as the gradiental theory of cognitive cortical organization and cognitive novelty/familiarity theory of hemispheric specialization. The chapter also examines the differences between clinical neuropsychology of today and during Luria’s times. More specifically, it examines how the thrust of clinical neuropsychology has shifted from neuroanatomical diagnosis to fine cognitive analysis of diverse neurological and neuropsychiatric disorders, cognitive rehabilitation, monitoring the efficacy of cognotropic medications, and design of cognitive activation paradigms in functional neuroimaging studies. In sum, this chapter shows that Luria’s monumental contributions to neuropsychology and cognitive neuroscience continue to be relevant and to have a lastingeffect on the development of the field.
Paul J. Silvia
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780195158557
- eISBN:
- 9780199786824
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195158557.003.0003
- Subject:
- Psychology, Cognitive Neuroscience
What makes something interesting? This chapter critically reviews the long body of thought on the causes of interest. D. E. Berlyne’s seminal research on curiosity, arousal, and reward is reviewed in ...
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What makes something interesting? This chapter critically reviews the long body of thought on the causes of interest. D. E. Berlyne’s seminal research on curiosity, arousal, and reward is reviewed in detail. In his theories, Berlyne traced curiosity to a set of collative variables (novelty, complexity, uncertainty, and conflict) that affected curiosity by modifying arousal levels. Changes in arousal levels affected reward and preference according to an inverted U. The chapter then turns to later theories of interest: Nunnally's information conflict theory, Tomkins's emotion theory, Fowler's boredom drive theory, and Loewenstein's information gaps theory. The chapter then develops a new model rooted in appraisal theories of emotion, in which interest is caused by two appraisals: (1) a novelty-complexity appraisal (“is this complex or unfamiliar?”), and (2) a coping potential appraisal (“is this comprehensible?”). Recent experiments that support the author's appraisal model are reviewed.Less
What makes something interesting? This chapter critically reviews the long body of thought on the causes of interest. D. E. Berlyne’s seminal research on curiosity, arousal, and reward is reviewed in detail. In his theories, Berlyne traced curiosity to a set of collative variables (novelty, complexity, uncertainty, and conflict) that affected curiosity by modifying arousal levels. Changes in arousal levels affected reward and preference according to an inverted U. The chapter then turns to later theories of interest: Nunnally's information conflict theory, Tomkins's emotion theory, Fowler's boredom drive theory, and Loewenstein's information gaps theory. The chapter then develops a new model rooted in appraisal theories of emotion, in which interest is caused by two appraisals: (1) a novelty-complexity appraisal (“is this complex or unfamiliar?”), and (2) a coping potential appraisal (“is this comprehensible?”). Recent experiments that support the author's appraisal model are reviewed.
