John M Findlay and Iain D Gilchrist
- Published in print:
- 2003
- Published Online:
- January 2008
- ISBN:
- 9780198524793
- eISBN:
- 9780191711817
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198524793.001.0001
- Subject:
- Psychology, Cognitive Psychology
More than one third of the human brain is devoted to the processes of seeing — vision is after all the main way in which we gather information about the world. But human vision is a dynamic process ...
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More than one third of the human brain is devoted to the processes of seeing — vision is after all the main way in which we gather information about the world. But human vision is a dynamic process during which the eyes continually sample the environment. Where most books on vision consider it as a passive activity, this book focuses on vision as an ‘active’ process. It goes beyond most accounts of vision where the focus is on seeing, to provide an account of seeing AND looking. The book starts by pointing out the weaknesses in our traditional approaches to vision and the reason we need this new approach. It then gives a thorough description of basic details of the visual and oculomotor systems necessary to understand active vision. The book goes on to show how this approach can give a new perspective on visual attention, and how the approach has progressed in the areas of visual orienting, reading, visual search, scene perception, and neuropsychology. Finally, the book summarizes progress by showing how this approach sheds new light on the old problem of how we maintain perception of a stable visual world.Less
More than one third of the human brain is devoted to the processes of seeing — vision is after all the main way in which we gather information about the world. But human vision is a dynamic process during which the eyes continually sample the environment. Where most books on vision consider it as a passive activity, this book focuses on vision as an ‘active’ process. It goes beyond most accounts of vision where the focus is on seeing, to provide an account of seeing AND looking. The book starts by pointing out the weaknesses in our traditional approaches to vision and the reason we need this new approach. It then gives a thorough description of basic details of the visual and oculomotor systems necessary to understand active vision. The book goes on to show how this approach can give a new perspective on visual attention, and how the approach has progressed in the areas of visual orienting, reading, visual search, scene perception, and neuropsychology. Finally, the book summarizes progress by showing how this approach sheds new light on the old problem of how we maintain perception of a stable visual world.
Bernard J. Baars
- Published in print:
- 1997
- Published Online:
- May 2009
- ISBN:
- 9780195102659
- eISBN:
- 9780199864126
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102659.001.1
- Subject:
- Neuroscience, Sensory and Motor Systems, Behavioral Neuroscience
The study of conscious experience has seen remarkable strides in the last ten years, reflecting important technological breakthroughs and the enormous efforts of researchers. Although still embroiled ...
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The study of conscious experience has seen remarkable strides in the last ten years, reflecting important technological breakthroughs and the enormous efforts of researchers. Although still embroiled in debate, scientists are now beginning to find common ground in their understanding of consciousness, which may pave the way for a unified explanation of how and why we experience and understand the world around us. This book brings the subject to life with a metaphor that has been used to understand consciousness since the time of Aristotle—the mind as theater. Here consciousness is seen as a “stage” on which our sensations, perceptions, thoughts, and feelings play to a vast, silent audience (the immensely complicated inner-workings of the brain's unconscious processes). Behind the scenes, silent context operators shape conscious experience; they include implicit expectations, self systems, and scene setters. Using this framework, the book presents compelling evidence that human consciousness rides on top of biologically ancient mechanisms. In humans it manifests itself in inner speech, imagery, perception, and voluntary control of thought and action. Topics like hypnosis, absorbed states of mind, adaptation to trauma, and the human propensity to project expectations on uncertainty, all fit into the expanded theater metaphor.Less
The study of conscious experience has seen remarkable strides in the last ten years, reflecting important technological breakthroughs and the enormous efforts of researchers. Although still embroiled in debate, scientists are now beginning to find common ground in their understanding of consciousness, which may pave the way for a unified explanation of how and why we experience and understand the world around us. This book brings the subject to life with a metaphor that has been used to understand consciousness since the time of Aristotle—the mind as theater. Here consciousness is seen as a “stage” on which our sensations, perceptions, thoughts, and feelings play to a vast, silent audience (the immensely complicated inner-workings of the brain's unconscious processes). Behind the scenes, silent context operators shape conscious experience; they include implicit expectations, self systems, and scene setters. Using this framework, the book presents compelling evidence that human consciousness rides on top of biologically ancient mechanisms. In humans it manifests itself in inner speech, imagery, perception, and voluntary control of thought and action. Topics like hypnosis, absorbed states of mind, adaptation to trauma, and the human propensity to project expectations on uncertainty, all fit into the expanded theater metaphor.
Adam Watt
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199566174
- eISBN:
- 9780191721519
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199566174.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature, European Literature
This book, through close analysis of the scenes of reading in Proust's A la recherche du temps perdu, offers an invigorating new study of the novel and previously unacknowledged paths through it. ...
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This book, through close analysis of the scenes of reading in Proust's A la recherche du temps perdu, offers an invigorating new study of the novel and previously unacknowledged paths through it. After considering key childhood ‘Primal Scenes’ which mark the act of reading as revelatory and potentially traumatic, the book then examines the interwoven strands of the novel's narrative of reading: scenes where the narrator reads and where others provide ‘lessons in reading’ are shown to be intricately connected within the narrator's considerations of intelligence, sense experience, knowledge, and desire. These scenes offer us a phenomenology of reading, whose illuminations, wrong turns, and over-determinations often bewilder the narrator and lead us to interrogate our own understanding of the act we accomplish as we read A la recherche. This book emphasizes the complexities and contradictions with which reading is riven, and which connect it repeatedly to the experience of involuntary memory. Reading is shown to be frequently fraught with heady instability—‘délire’—of a highly revealing sort, from which narrator and readers alike have much to learn. The book's final chapter shows how the narrator's critical energies, turned contemplatively inwards in the Guermantes's library, are subsequently turned outwards for a final interpretive effort—the reading of his now aged acquaintances at the ‘Bal de têtes’—in a shift that provides the narrator not only the confidence to begin his work of art, through the translation of his impressions but also the humility to face, undeterred, the approach of death.Less
This book, through close analysis of the scenes of reading in Proust's A la recherche du temps perdu, offers an invigorating new study of the novel and previously unacknowledged paths through it. After considering key childhood ‘Primal Scenes’ which mark the act of reading as revelatory and potentially traumatic, the book then examines the interwoven strands of the novel's narrative of reading: scenes where the narrator reads and where others provide ‘lessons in reading’ are shown to be intricately connected within the narrator's considerations of intelligence, sense experience, knowledge, and desire. These scenes offer us a phenomenology of reading, whose illuminations, wrong turns, and over-determinations often bewilder the narrator and lead us to interrogate our own understanding of the act we accomplish as we read A la recherche. This book emphasizes the complexities and contradictions with which reading is riven, and which connect it repeatedly to the experience of involuntary memory. Reading is shown to be frequently fraught with heady instability—‘délire’—of a highly revealing sort, from which narrator and readers alike have much to learn. The book's final chapter shows how the narrator's critical energies, turned contemplatively inwards in the Guermantes's library, are subsequently turned outwards for a final interpretive effort—the reading of his now aged acquaintances at the ‘Bal de têtes’—in a shift that provides the narrator not only the confidence to begin his work of art, through the translation of his impressions but also the humility to face, undeterred, the approach of death.
John M. Henderson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195305487
- eISBN:
- 9780199894260
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305487.003.0004
- Subject:
- Psychology, Cognitive Psychology
This chapter reviews the evidence supporting the view that representations are retained and combined across eye movements and over extended time. In particular, it considers representations that are ...
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This chapter reviews the evidence supporting the view that representations are retained and combined across eye movements and over extended time. In particular, it considers representations that are generated over three time periods: across fixations (transsaccadic memory), over multiple fixation-saccade cycles (active online scene memory), and over the longer term (long-term scene memory). It highlights recent experiments on saccadic eye movements and visual memory. It argues that a composite scene representation that includes relatively detailed (although not sensory or iconic) visual information is generated and retained in memory across eye movements and over time as a natural consequence of active, dynamic scene perception.Less
This chapter reviews the evidence supporting the view that representations are retained and combined across eye movements and over extended time. In particular, it considers representations that are generated over three time periods: across fixations (transsaccadic memory), over multiple fixation-saccade cycles (active online scene memory), and over the longer term (long-term scene memory). It highlights recent experiments on saccadic eye movements and visual memory. It argues that a composite scene representation that includes relatively detailed (although not sensory or iconic) visual information is generated and retained in memory across eye movements and over time as a natural consequence of active, dynamic scene perception.
Andrew Hollingworth
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195305487
- eISBN:
- 9780199894260
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305487.003.0005
- Subject:
- Psychology, Cognitive Psychology
This chapter reviews research examining visual memory for complex, natural environments. It is divided into two main sections. The first concerns the use of visual memory to construct online ...
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This chapter reviews research examining visual memory for complex, natural environments. It is divided into two main sections. The first concerns the use of visual memory to construct online representations of natural scenes (i.e., the representation produced as one is actively viewing a scene). The second concerns longer-term scene memory stored after a scene is no longer in view.Less
This chapter reviews research examining visual memory for complex, natural environments. It is divided into two main sections. The first concerns the use of visual memory to construct online representations of natural scenes (i.e., the representation produced as one is actively viewing a scene). The second concerns longer-term scene memory stored after a scene is no longer in view.
Travis D. Stimeling
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199747474
- eISBN:
- 9780199896981
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199747474.001.0001
- Subject:
- Music, Popular, History, American
This book explores the roles that music, as a sounding phenomenon with culturally specific meanings, played in mediating the experiences of a community of musicians, entrepreneurs, journalists, and ...
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This book explores the roles that music, as a sounding phenomenon with culturally specific meanings, played in mediating the experiences of a community of musicians, entrepreneurs, journalists, and fans who viewed country music as part of their collective heritage. These same people sought to reclaim the sounds of country music to articulate a distinctively Texan musical counterculture that has had an indelible impact on the production and consumption of country music. Arguing that the sounds of a scene function as relatively stable and extremely powerful signifiers for scene participants, this book explores how music performs important cultural work within a music scene by helping participants to construct personal and collective identities, to imbue music scenes with a sense of place, and to relate to people who are not active within the scene.Less
This book explores the roles that music, as a sounding phenomenon with culturally specific meanings, played in mediating the experiences of a community of musicians, entrepreneurs, journalists, and fans who viewed country music as part of their collective heritage. These same people sought to reclaim the sounds of country music to articulate a distinctively Texan musical counterculture that has had an indelible impact on the production and consumption of country music. Arguing that the sounds of a scene function as relatively stable and extremely powerful signifiers for scene participants, this book explores how music performs important cultural work within a music scene by helping participants to construct personal and collective identities, to imbue music scenes with a sense of place, and to relate to people who are not active within the scene.
MacDonald P. Jackson
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780199260508
- eISBN:
- 9780191717635
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199260508.001.0001
- Subject:
- Literature, Shakespeare Studies
‘That very great play, Pericles’, as T. S. Eliot called it, poses formidable problems of text and authorship. The first of the Late Romances, it was ascribed to Shakespeare when printed in a quarto ...
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‘That very great play, Pericles’, as T. S. Eliot called it, poses formidable problems of text and authorship. The first of the Late Romances, it was ascribed to Shakespeare when printed in a quarto of 1609, but was not included in the First Folio (1623) collection of his plays. This book examines rival theories about the quarto's origins and offers compelling evidence that Pericles is the product of collaboration between Shakespeare and the minor dramatist George Wilkins, who was responsible for the first two acts and for portions of the ‘brothel scenes’ in Act 4. Pericles serves as a test case for methodologies that seek to define the limits of the Shakespeare canon and to identify co-authors. A wide range of metrical, lexical, and other data is analysed. Computerized ‘stylometric’ texts are explained and their findings assessed. A concluding chapter introduces a new technique that has the potential to answer many of the remaining questions of attribution associated with Shakespeare and his contemporaries.Less
‘That very great play, Pericles’, as T. S. Eliot called it, poses formidable problems of text and authorship. The first of the Late Romances, it was ascribed to Shakespeare when printed in a quarto of 1609, but was not included in the First Folio (1623) collection of his plays. This book examines rival theories about the quarto's origins and offers compelling evidence that Pericles is the product of collaboration between Shakespeare and the minor dramatist George Wilkins, who was responsible for the first two acts and for portions of the ‘brothel scenes’ in Act 4. Pericles serves as a test case for methodologies that seek to define the limits of the Shakespeare canon and to identify co-authors. A wide range of metrical, lexical, and other data is analysed. Computerized ‘stylometric’ texts are explained and their findings assessed. A concluding chapter introduces a new technique that has the potential to answer many of the remaining questions of attribution associated with Shakespeare and his contemporaries.
Steven J. Luck and Andrew Hollingworth (eds)
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195305487
- eISBN:
- 9780199894260
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305487.001.0001
- Subject:
- Psychology, Cognitive Psychology
Vision and memory are two of the most intensively studied topics in psychology and neuroscience, and the intersection between them — visual memory — is emerging as a fertile ground for research. ...
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Vision and memory are two of the most intensively studied topics in psychology and neuroscience, and the intersection between them — visual memory — is emerging as a fertile ground for research. Certain memory systems appear to specialize in maintaining visually encoded information. Vision provides the primary input to more general memory systems. These more general systems link and integrate visual memory with other perceptual and cognitive processes. As a result, visual perception cannot be understood independently of visual memories, which support the mapping of perceptual input onto existing knowledge structures that guide and constrain perceptual selection. This book provides an account of visual memory systems. The chapters provide both a broad overview of each topic and a summary of the latest research. They also present new perspectives that advance our theoretical understanding of visual memory and suggest directions for future research. After an introductory overview by the editors, chapters address visual sensory memory (iconic memory), visual short-term memory, and the relationship between visual memory and eye movements. Visual long-term memory is then reviewed from several different perspectives, including memory for natural scenes, the relationship between visual memory and object recognition, and associative learning. The final chapters discuss the neural mechanisms of visual memory and neuropsychological deficits in visual memory.Less
Vision and memory are two of the most intensively studied topics in psychology and neuroscience, and the intersection between them — visual memory — is emerging as a fertile ground for research. Certain memory systems appear to specialize in maintaining visually encoded information. Vision provides the primary input to more general memory systems. These more general systems link and integrate visual memory with other perceptual and cognitive processes. As a result, visual perception cannot be understood independently of visual memories, which support the mapping of perceptual input onto existing knowledge structures that guide and constrain perceptual selection. This book provides an account of visual memory systems. The chapters provide both a broad overview of each topic and a summary of the latest research. They also present new perspectives that advance our theoretical understanding of visual memory and suggest directions for future research. After an introductory overview by the editors, chapters address visual sensory memory (iconic memory), visual short-term memory, and the relationship between visual memory and eye movements. Visual long-term memory is then reviewed from several different perspectives, including memory for natural scenes, the relationship between visual memory and object recognition, and associative learning. The final chapters discuss the neural mechanisms of visual memory and neuropsychological deficits in visual memory.
Paul Borgman
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195331608
- eISBN:
- 9780199868001
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331608.003.0011
- Subject:
- Religion, Biblical Studies
For Homer's audience, the resourceful Odysseus—“known before all men for the study of crafty designs”—is predictable, always the same, always on brilliant display. David, on the other hand, remains ...
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For Homer's audience, the resourceful Odysseus—“known before all men for the study of crafty designs”—is predictable, always the same, always on brilliant display. David, on the other hand, remains mysterious to the story's audience for great portions of the narrative, acting often in a surprising manner. The biblical writer develops character; the Homeric writer demonstrates character. The divine in each story play roles appropriate to each hero, while reflecting their authors' respective sense of character and moral universe. In fact, the relationship of hero to the divine has much to do with the diametrically opposed characterizations of David and Odysseus within their respective stories, and the gulf between implied moral universes. Because of the goddess Athene, Odysseus becomes more of what he has always been. Because of the biblical God, on the other hand, David changes, becoming known to others—and to himself—only as the story unfolds. David and Odysseus inhabit worlds that could not be more different. A brief exploration of notable cave scenes from their respective stories helps to shine a spotlight on the complexity of David, of his God, and of the relationship between the two.Less
For Homer's audience, the resourceful Odysseus—“known before all men for the study of crafty designs”—is predictable, always the same, always on brilliant display. David, on the other hand, remains mysterious to the story's audience for great portions of the narrative, acting often in a surprising manner. The biblical writer develops character; the Homeric writer demonstrates character. The divine in each story play roles appropriate to each hero, while reflecting their authors' respective sense of character and moral universe. In fact, the relationship of hero to the divine has much to do with the diametrically opposed characterizations of David and Odysseus within their respective stories, and the gulf between implied moral universes. Because of the goddess Athene, Odysseus becomes more of what he has always been. Because of the biblical God, on the other hand, David changes, becoming known to others—and to himself—only as the story unfolds. David and Odysseus inhabit worlds that could not be more different. A brief exploration of notable cave scenes from their respective stories helps to shine a spotlight on the complexity of David, of his God, and of the relationship between the two.
Barbara Tversky, Jeffrey M. Zacks, and Bridgette Martin Hard
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195188370
- eISBN:
- 9780199870462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195188370.003.0019
- Subject:
- Psychology, Cognitive Neuroscience
This chapter focuses on the structure of experience, covering language, objects, scenes, and events. It is argued that partitioning the world is the first step to comprehending it. Some partitioning ...
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This chapter focuses on the structure of experience, covering language, objects, scenes, and events. It is argued that partitioning the world is the first step to comprehending it. Some partitioning is so instantaneous and automatic that perception of the world is not of multimedia mixtures of continuously changing sensations but rather of coherent objects, events, and scenes. The mind goes on to parse those elements and to look for structure among the parts. Typically there is a perceptual basis for part structure. Truly understanding each of these elements of our lives requires assigning meaning to their parts.Less
This chapter focuses on the structure of experience, covering language, objects, scenes, and events. It is argued that partitioning the world is the first step to comprehending it. Some partitioning is so instantaneous and automatic that perception of the world is not of multimedia mixtures of continuously changing sensations but rather of coherent objects, events, and scenes. The mind goes on to parse those elements and to look for structure among the parts. Typically there is a perceptual basis for part structure. Truly understanding each of these elements of our lives requires assigning meaning to their parts.
Roland Enmarch
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265420
- eISBN:
- 9780191760471
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265420.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
‘Laments’ have long been recognised as an important and long-lived part of Egyptian written culture, appearing in widely differing contexts, including as captions to mourning scenes in tombs from the ...
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‘Laments’ have long been recognised as an important and long-lived part of Egyptian written culture, appearing in widely differing contexts, including as captions to mourning scenes in tombs from the Old Kingdom onwards, as liturgical laments uttered by Isis and Nephthys in mortuary texts, and as an important component of the literary style of Middle Egyptian pessimistic literature. The heterogeneous nature of these sources presents problems in arriving at a satisfactory definition for a ‘lament’ genre as a whole, and raises questions as to just how closely related these different written traditions are. While the style of literary laments in particular has often been described as originating from funerary dirges, the evidence for this is chronologically problematic and other generic influences have alternatively been posited. This chapter establishes stylistic and structural criteria to enable a more detailed analysis of the different kinds of lament, and their possible interrelationship.Less
‘Laments’ have long been recognised as an important and long-lived part of Egyptian written culture, appearing in widely differing contexts, including as captions to mourning scenes in tombs from the Old Kingdom onwards, as liturgical laments uttered by Isis and Nephthys in mortuary texts, and as an important component of the literary style of Middle Egyptian pessimistic literature. The heterogeneous nature of these sources presents problems in arriving at a satisfactory definition for a ‘lament’ genre as a whole, and raises questions as to just how closely related these different written traditions are. While the style of literary laments in particular has often been described as originating from funerary dirges, the evidence for this is chronologically problematic and other generic influences have alternatively been posited. This chapter establishes stylistic and structural criteria to enable a more detailed analysis of the different kinds of lament, and their possible interrelationship.
John M. Anderson
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199608331
- eISBN:
- 9780191732119
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199608331.003.0009
- Subject:
- Linguistics, Syntax and Morphology, Phonetics / Phonology
It is concluded that the presence of a range of analogies in structure between the two planes of phonology and syntax reflects both the human perception of similarities between the substances ...
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It is concluded that the presence of a range of analogies in structure between the two planes of phonology and syntax reflects both the human perception of similarities between the substances grammaticalized by linguistic representation and the implementation of the same mental apparatus in the construction of linguistic structure. These analogies are limited by discrepancies between the two planes, in the complexity of their categorization and the structures they project, determined on the one hand by the need, in the syntax, to represent complex conceptual scenes, and, on the other, by the constraints imposed on categorial, derivational, and structural elaboration allowed by the limited domain grammaticalized by phonology, a domain intimately associated with physical implementation. These differences between the planes also affect and reflect their relationship to the lexicon, where they are related by the asymmetrical relation of exponence.Less
It is concluded that the presence of a range of analogies in structure between the two planes of phonology and syntax reflects both the human perception of similarities between the substances grammaticalized by linguistic representation and the implementation of the same mental apparatus in the construction of linguistic structure. These analogies are limited by discrepancies between the two planes, in the complexity of their categorization and the structures they project, determined on the one hand by the need, in the syntax, to represent complex conceptual scenes, and, on the other, by the constraints imposed on categorial, derivational, and structural elaboration allowed by the limited domain grammaticalized by phonology, a domain intimately associated with physical implementation. These differences between the planes also affect and reflect their relationship to the lexicon, where they are related by the asymmetrical relation of exponence.
Jessica Waldoff
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195151978
- eISBN:
- 9780199870387
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151978.003.0005
- Subject:
- Music, Opera
More than any other of Mozart's operas, La finta giardiniera (The Pretend Garden Girl), draws on a culture and an archetype virtually unknown today: the culture is that of sensibility and the ...
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More than any other of Mozart's operas, La finta giardiniera (The Pretend Garden Girl), draws on a culture and an archetype virtually unknown today: the culture is that of sensibility and the archetype that of the giardiniera to which the title refers — the sentimental heroine of Carlo Goldoni's and Niccolò Piccinni's wildly popular La buona figliuola. Both Piccinni's opera and Mozart's belong to a circle of works loosely based on Richardson's sentimental novel Pamela. Giardiniera has often been disparaged for its convoluted and somewhat static plot, but this chapter argues that it needs to be read as Dr. Johnson recommends we read Richardson: “for the sentiment”. Supposed inconsistencies and implausibilities, including mad scenes for the central protagonists, are considered here as opportunities to indulge in feeling, a staple of the sentimental genres.Less
More than any other of Mozart's operas, La finta giardiniera (The Pretend Garden Girl), draws on a culture and an archetype virtually unknown today: the culture is that of sensibility and the archetype that of the giardiniera to which the title refers — the sentimental heroine of Carlo Goldoni's and Niccolò Piccinni's wildly popular La buona figliuola. Both Piccinni's opera and Mozart's belong to a circle of works loosely based on Richardson's sentimental novel Pamela. Giardiniera has often been disparaged for its convoluted and somewhat static plot, but this chapter argues that it needs to be read as Dr. Johnson recommends we read Richardson: “for the sentiment”. Supposed inconsistencies and implausibilities, including mad scenes for the central protagonists, are considered here as opportunities to indulge in feeling, a staple of the sentimental genres.
Deborah Chester
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9781784992880
- eISBN:
- 9781526104199
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992880.003.0005
- Subject:
- Literature, Criticism/Theory
Scenes serve many purposes in fiction, but chiefly they push a story forward, reveal character, intensify story suspense, and raise the stakes. Scenes should dramatize a story’s key turning points or ...
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Scenes serve many purposes in fiction, but chiefly they push a story forward, reveal character, intensify story suspense, and raise the stakes. Scenes should dramatize a story’s key turning points or important events instead of floundering with trivial issues, vague character goals, low stakes, or weak motivation. Because scenes do not contain summary, they should be written in moment-by-moment action or dialogue, focused on a goal, and end with partial or complete failure for the scene’s protagonist.Less
Scenes serve many purposes in fiction, but chiefly they push a story forward, reveal character, intensify story suspense, and raise the stakes. Scenes should dramatize a story’s key turning points or important events instead of floundering with trivial issues, vague character goals, low stakes, or weak motivation. Because scenes do not contain summary, they should be written in moment-by-moment action or dialogue, focused on a goal, and end with partial or complete failure for the scene’s protagonist.
Paul E. Willis
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691163697
- eISBN:
- 9781400865147
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691163697.003.0005
- Subject:
- Sociology, Culture
This chapter turns to an overview of the hippy culture. This time, the author enters the ‘hippy scene’ of a large industrial city in late 1969 and follows up by making some general observations of ...
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This chapter turns to an overview of the hippy culture. This time, the author enters the ‘hippy scene’ of a large industrial city in late 1969 and follows up by making some general observations of the scene; engaging in participant observation; soaking up the general hippy ambience; and participating in casual talk, directed talk, and various taped group discussions. The chapter is an exploration of the hippy identity. Notably, the hippies did not live in a world of personal certainty and had a far from certain grip on their own identities. Where in the ‘straight’ world this is a cause for concern, for the hippies it was a source of richness and the base for expanded awareness.Less
This chapter turns to an overview of the hippy culture. This time, the author enters the ‘hippy scene’ of a large industrial city in late 1969 and follows up by making some general observations of the scene; engaging in participant observation; soaking up the general hippy ambience; and participating in casual talk, directed talk, and various taped group discussions. The chapter is an exploration of the hippy identity. Notably, the hippies did not live in a world of personal certainty and had a far from certain grip on their own identities. Where in the ‘straight’ world this is a cause for concern, for the hippies it was a source of richness and the base for expanded awareness.
David Maskell
- Published in print:
- 1991
- Published Online:
- October 2011
- ISBN:
- 9780198151616
- eISBN:
- 9780191672774
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151616.003.0003
- Subject:
- Literature, Drama, 17th-century and Restoration Literature
This chapter discusses the entrances and exits which mark key junctures in a play. During the seventeenth century, the entrance and exit of characters created scene divisions. A new scene did not ...
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This chapter discusses the entrances and exits which mark key junctures in a play. During the seventeenth century, the entrance and exit of characters created scene divisions. A new scene did not signify change of place or setting, but a change of characters on stage. According to the seventeenth-century French convention, at least one character should continue in the stage to serve as a link or be the liaison des scenes. In this chapter, the different methods of Racine in signifying changes in scenes are thoroughly discussed. These transitions, which are executed differently from Corneille's mere realignment of actions, are achieved by varying degrees of contextualization. The entrances in the Racinian stage are signified by danger or surprise, thus creating an immediate impact on the spectators. The social contexts when the rich and aristocrats enter to perform actions inconsistent with their status, including the visual contribution of customs, are also used to signify scene change and significant entrances. Exits are signified by verbal contexts that are powerful and signify frustrated desire or death.Less
This chapter discusses the entrances and exits which mark key junctures in a play. During the seventeenth century, the entrance and exit of characters created scene divisions. A new scene did not signify change of place or setting, but a change of characters on stage. According to the seventeenth-century French convention, at least one character should continue in the stage to serve as a link or be the liaison des scenes. In this chapter, the different methods of Racine in signifying changes in scenes are thoroughly discussed. These transitions, which are executed differently from Corneille's mere realignment of actions, are achieved by varying degrees of contextualization. The entrances in the Racinian stage are signified by danger or surprise, thus creating an immediate impact on the spectators. The social contexts when the rich and aristocrats enter to perform actions inconsistent with their status, including the visual contribution of customs, are also used to signify scene change and significant entrances. Exits are signified by verbal contexts that are powerful and signify frustrated desire or death.
Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0003
- Subject:
- Sociology, Culture
This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the ...
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This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the same patterns. It describes two primary trajectories taken by musical styles across the four genre types. The first trajectory is shared by the three styles explored in Chapter 2 (bluegrass, bebop, and rap). The second trajectory, abbreviated IST, describes the transit of nine musics that started as industry-based genres, then inspired a scene-based genre form, and acquired a traditionalist following. The chapter first identifies these two trajectories and illustrates them with examples from several musical styles. It then explores the three mechanisms of inertia that produced incomplete musical trajectories across genre forms.Less
This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the same patterns. It describes two primary trajectories taken by musical styles across the four genre types. The first trajectory is shared by the three styles explored in Chapter 2 (bluegrass, bebop, and rap). The second trajectory, abbreviated IST, describes the transit of nine musics that started as industry-based genres, then inspired a scene-based genre form, and acquired a traditionalist following. The chapter first identifies these two trajectories and illustrates them with examples from several musical styles. It then explores the three mechanisms of inertia that produced incomplete musical trajectories across genre forms.
Sebastian Zeidler
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9781501702082
- eISBN:
- 9781501701900
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501702082.001.0001
- Subject:
- Art, Art History
The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book ...
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The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book recovers Einstein's multifaceted career, offering the first comprehensive intellectual biography of Einstein in English. Einstein first emerged as a writer of experimental prose through his involvement with the anarchist journal Die Aktion. After a few limited forays into art criticism, he burst onto the art scene in 1915 with his book Negro Sculpture, at once a formalist intervention into the contemporary theory and practice of European sculpture and a manifesto for the sophistication of African art. Einstein would go on to publish seminal texts on the cubist paintings of Georges Braque and Pablo Picasso. His contributions to the surrealist magazine Documents (which Einstein cofounded with Georges Bataille) including writings on Picasso and Paul Klee, remain unsurpassed in their depth and complexity. In a series of close visual analyses—illustrated with major works by Braque, Picasso, and Klee—the book retrieves the theoretical resources that Einstein brought to bear on their art. It shows us that to rediscover Einstein's art criticism is to see the work of great modernist artists anew through the eyes of one of the most gifted left-wing formalists of the twentieth century.Less
The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book recovers Einstein's multifaceted career, offering the first comprehensive intellectual biography of Einstein in English. Einstein first emerged as a writer of experimental prose through his involvement with the anarchist journal Die Aktion. After a few limited forays into art criticism, he burst onto the art scene in 1915 with his book Negro Sculpture, at once a formalist intervention into the contemporary theory and practice of European sculpture and a manifesto for the sophistication of African art. Einstein would go on to publish seminal texts on the cubist paintings of Georges Braque and Pablo Picasso. His contributions to the surrealist magazine Documents (which Einstein cofounded with Georges Bataille) including writings on Picasso and Paul Klee, remain unsurpassed in their depth and complexity. In a series of close visual analyses—illustrated with major works by Braque, Picasso, and Klee—the book retrieves the theoretical resources that Einstein brought to bear on their art. It shows us that to rediscover Einstein's art criticism is to see the work of great modernist artists anew through the eyes of one of the most gifted left-wing formalists of the twentieth century.
Halina Goldberg
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195130737
- eISBN:
- 9780199867424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130737.003.0006
- Subject:
- Music, History, Western
This chapter outlines the history of the salon tradition in Poland, focusing on the central role of the intellectual salon in the early 19th century. It shows that during the period when Warsaw ...
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This chapter outlines the history of the salon tradition in Poland, focusing on the central role of the intellectual salon in the early 19th century. It shows that during the period when Warsaw lacked institutional support for culture, the salon became a specifically Polish venue for artistic and intellectual endeavors and patronage. Intense political atmosphere and focus on nationalism differentiated Polish salons from their counterparts abroad. Typical salon activities are described, and the young Chopin is placed within the salon scene. Most interesting salons, especially those nurturing new trends are given particular attention: Princess Izabela Czartoryska and Klementyna Tańska proto-Romantic endeavors, the circle of the young Romantics, Chopin's friends — poets, writers, philosophers, and musicians — who were ardent supporters of Romantic ideology, are also discussed.Less
This chapter outlines the history of the salon tradition in Poland, focusing on the central role of the intellectual salon in the early 19th century. It shows that during the period when Warsaw lacked institutional support for culture, the salon became a specifically Polish venue for artistic and intellectual endeavors and patronage. Intense political atmosphere and focus on nationalism differentiated Polish salons from their counterparts abroad. Typical salon activities are described, and the young Chopin is placed within the salon scene. Most interesting salons, especially those nurturing new trends are given particular attention: Princess Izabela Czartoryska and Klementyna Tańska proto-Romantic endeavors, the circle of the young Romantics, Chopin's friends — poets, writers, philosophers, and musicians — who were ardent supporters of Romantic ideology, are also discussed.
Michel E. Fuchs
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199582570
- eISBN:
- 9780191595271
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582570.003.0005
- Subject:
- Classical Studies, European History: BCE to 500CE
The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they ...
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The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they are present in these external scenes must still be questioned. Some of them may be participating in religious initiatory ceremonies or in a cult dedicated to the dead.Less
The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they are present in these external scenes must still be questioned. Some of them may be participating in religious initiatory ceremonies or in a cult dedicated to the dead.
