What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, (...) class='Hi'>personal style. In fact, both theories of style crack along the same line, which suggests that they can indeed be mutually illuminating. I articulate and defend a view of personal style according to which, roughly, having style is a matter of expressing one’s ideals. I show how this illuminates the widely neglected value of personal style and propose a new, analogous theory of individual artistic style: artistic style is the expression of the ideals the artist has for her art. (shrink)

Several publications with healthcare professionals, such as psychotherapists, have shown a significant difference in personality styles in practitioners using hypnosis compared to those not using hypnosis. To investigate differences in personality styles, dentists were contacted to participate in a personality-inventory [Personality Style and Disorder Inventory ] online survey. Dentists using hypnosis were compared to dentists not using hypnosis. Results show that hypnosis-practicing dentists score significantly higher in the intuitive/schizotypal ST personality style compared to non-hypnosis-practicing dentists. Female dentists scored (...) significantly higher in intuitive/schizotypal ST and unselfish/self-sacrificing SL in the HYP DGZH sample but only in unselfish/self-sacrificing SL in the NONHYP DENT sample. The percentage of women was similar in both samples. Intuitive/schizotypal ST was found to be the predominant personality style of men who are interested in or use hypnosis, metaphorically so-called “homo hypnoticus.” Within the limitations of this cross-sectional non-interventional observational online-questionnaire study, results expand this notion to the so-called “homo hypnoticus dentalis.” However, further research on the subject is needed to investigate and confirm this personality type in other than the German-speaking DACH countries. (shrink)

One of the central pedagogical strategies employed in the "Analects" consists in the suggestion of models worthy of emulation. The text's most robust models, the dramatic personae of the text, emerge as colorful figures with distinctive personal styles of action and behavior. This is especially so in the case of Confucius himself. In this essay, two particularly notable features of Confucius' style are considered. The first, what is termed "everyday" style, consists in Confucius' unusual command of conventional (...) norms in ordinary circumstances; the second, termed "deviant" style, consists in Confucius' occasional and sometimes puzzling departures from conventional norms. The combind effect of these two aspects of Confucius' personal style is shown to yield a productive pedagogical tension for the moral learner who would emulate, but cannot imitate, Confucius. (shrink)

We shape our surroundings; form the rooms we live in, so that we feel comfortable in them. This shows parts of our personality – it can be inferred from our environment. In this study, we created stereotypical desks embodying different personality styles and let 190 students choose which desk fits – in their subjective perspective - the most to their personality. To determine their personality style, the Personality Style and Disorder Inventory (PSSI) was used. Correspondence analysis was conducted (...) to investigate the relationship between personality styles and choice of desks. Results did not show convergence of personality styles and desks. Contrary to the popular scientific idea, personality and creation of surroundings were not related; regarding our study, the relation is uninterpretable suggesting an individual’s desk choice is not statistically dependent on one's individual’s highest PSSI subscale. The study can be regarded as a pilot project for desk designs as classification tool for personality. (shrink)

This study investigates the relationship between personality traits and coping styles among college students in private higher educational institution. Hence, employing correlational design to assess the relationship between coping styles and personality of 150 college students. The statistical analysis reveals that the r coefficient of 0.54 indicates a moderate positive correlation between the variables. The p-value of 0.00, which is less than 0.05, leads to the decision to reject the null hypothesis. Hence, a significant relationship exists between coping style (...) and personality traits among fourth-year college students in a private state university. (shrink)

Making a career decision is one of the most complex development tasks faced by high school students who will graduate from school. Students need to believe that they would succeed in their effort to do the necessary tasks during the process of career decision-making. This belief is referred to as a career decision self-efficacy. This study examined the influence of parenting style on career decision self-efficacy through the mediation of proactive personality in senior high school students. A total of (...) 949 participants were involved in this study. Data were collected using Career Decision Self-Efficacy Scale-Short Form, Parental Authority Questionnaire, and Proactive Personality Scale. Data were analyzed using the regression technique with the Macro Process from Hayes. The regression results show that fathers’ and mothers’ authoritative parenting directly affect career decision self-efficacy; fathers’ and mothers’ authoritarian parenting, as well as mother's permissive parenting, affect the career decision self-efficacy only through the mediation of proactive personality. Also, fathers’ permissive parenting did not have a significant effect on career decisions self-efficacy either directly or indirectly through a proactive personality. Therefore parents – both father and mother – need to involve in developing career decision self-efficacy of their children through parenting process, especially authoritative parenting. (shrink)

"Against a backdrop of global change of every kind, from climate to demography, from national security to international terrorism, it is becoming increasingly evident that we live in a deeply interconnected world. However, our approach to leaders continues to be stuck in an individual-centred mindset that perceives the world from a disconnected and fragmentary perspective. And so it is critical that we make the shift to a new kind of global leadership. Such a leadership would be born out of a (...) deep sense of interconnectedness. Never before has it become more urgent for us to choose leaders and to become leaders who possess greater awareness and humanity. In this context, Africa has a vital role to play. Africa's gift to global leadership lies in its roots - in communally expressed humanity inspired by the collective wisdom and actions of all human beings. It takes the human being as the starting point, emphasizing the dignity and worth of all, and relying on the philosophical constructs of uBuntu and iSintu. These ideas call for all of us to be the kind of leaders who know that we are who we are because of other people. Personal growth, African style takes an approach to leadership which offers a path to personal development, dealing with leadership as a process of self-discovery and a journey to the centre of oneself and one's origins. It inspires leadership through the individual's reclaiming his or her wholeness as a human being, as an African, as a global citizen. It seeks to regenerate and ignite the less tangible aspects of leadership: those linked to higher purpose and self-awareness and to the good of a broader community. While focusing on personal growth, this approach not only calls upon you, the individual, to expand the level and depth of your self-awareness, but to honour and enrich the potential of those whose lives you touch. The book contains a variety of readings and tools as well as written exercises to help you to grow personally and to encourage you to begin to see yourself as a person who expresses the values, knowledge and behaviour which consciously embody uBuntu. It seeks to reclaim the possibility of a more human style of leadership. Not only for Africa, but for the world"--Cover. (shrink)

The question, How is style possible? assumes the existence of style and sufficient evidence for this assertion, as well as for determining what it means, appears in the talk about style, in the deployment of stylistic categories. That talk extends in common usage to such attenuated references as styles in dress, styles of social exchange, life-styles. To limit the discussion, I speak here primarily of artistic style, but it will be clear that the ramifications of the (...) argument extend beyond the arts, indeed beyond style as well. When we pursue this line of inference, the practical question of what the use or function of stylistic analysis is plays a controlling role and in effect sets a dialectic in motion. For if, as I suggest, there is a stopping short in the first—adverbial or instrumental—model of style and an amending completeness in the first—verbial or transitive—model, that difference starts from their respective conceptions of the function which stylistic analysis and finally style itself serve. It is important, then, to keep the question of function in mind, to allow it to spend its own force; that question serves, in fact, as a mediating link between the appearance of style and the discourse about it, on the one hand, and the final question of how style is possible, on the other. The two models of style to be described differ explicitly on the last of these points, and they differ at least tacitly in their conception of the mediating link, the question of the function or use of style. Those differences in turn make a practical difference even in the immediate description of particular styles. Berel Lang, whose "Space, Time, and Philosophical Style" appeared in the Winter 1975 issue of Critical Inquiry, is professor of philosophy at the University of Colorado, the author of Art and Inquiry, co-editor of Marxism and Art: Writings in Aesthetics and Criticism, and the editor of The Concept of Style. "Style as Instrument, Style as Person" is part of Person and Representation: The Intentions of Style. (shrink)

Some people constantly raise their eyebrows, others frequently tighten their lower eyelids, and still others continuously smile. Are these purely coincidental phenomena, or could they reflect an in...

The choice of coping style of recruits under psychological stress in the process of military task execution has been an important topic in the promotion of military operations and cohesion of military forces. Taking a positive coping style under psychological stress can help recruits overcome the negative effects of stress and improve military morale and group combat effectiveness. Although soldiers' psychological stress in the process of military mission execution having an impact on coping style has been studied (...) by a large body of literature, very little literature has focused on the mechanism of self-efficacy and social support between recruits' psychological stress and coping style from the person-environment fit perspective. Therefore, this study was conducted to analyze the impact of recruits' psychological stress on coping style through a chain mediation model and to discuss the role of self-efficacy and social support in this relationship. Two waves of survey data were utilized to test the research hypotheses on a sample of 1028 Chinese recruits performing military tasks. The results indicated that recruits' psychological stress negatively impacted positive coping styles and positively correlated with negative ones. In addition, self-efficacy and social support mediated the relationship between psychological stress and positive coping style, and self-efficacy mediated the relationship between psychological stress and negative coping style. More importantly, self-efficacy and social support play the chain mediating effect between psychological stress and positive coping style. (shrink)

Generally, I find gatherings of the Association for the Scientific Study of Consciousness more interesting and congenial than the Tucson conferences. There are at least two reasons for this, the first one obvious: the former is smaller. Less crowds, more chances to participate in discussions . The second reason reflects my predispositions, and of course those of the ASSC: the talks, research, and speculation are closely data-driven. I find it highly refreshing to attend talks on consciousness which are reporting experiments (...) done by groups employing stringent quality controls, and to hear speculation which is carefully restrained to inferences that closely and clearly follow from consensually verified data. I find it hopeful that researchers have not abandoned lines of inquiry which have decades of experiments to back them up merely because they have not yet found answers to some particular questions. But hey, these are my own biases; I'm someone who thinks the Skeptical Inquirer is a valuable resource. (shrink)

In this essay, I will compare the character, scientific style, and writing style of the American physicist Josiah Willard Gibbs and the French physicist Pierre Maurice Duhem. I begin with biographical notes to portray some significant moments of their lives. I will contrast their characters and scientific styles as manifested in their social and scientific activity influenced by the cultural traditions of their countries and the social and scientific milieu of their time. Also, in these sections, I will (...) discuss features of their familial relationships that affected their youth, their psychology, and the shaping of their characters. I will compare their writing styles emphasizing the differences observed between Gibbs’s dense and austere style, unlike Duhem’s detailed and informative way of writing his essays. I will further examine the way by which each physicist used Mach's doctrine of the economy of thought in shaping their writing style. A final contrast is reserved for their pedagogical styles. In this case, I will let their students and colleagues speak for them, while I comment on why they did not leave behind a school of thought. (shrink)

BackgroundHumor is a main ingredient of interpersonal relationships. Two sets of psychopathological traits known for their devastating impact on interpersonal relationships are psychopathy and narcissism. The current study was developed to provide a fine-grained analysis of the relationship between four humor styles and both psychopathic and narcissistic traits. Specifically, it addresses how humor styles relate to the three psychopathy subfactors and four subfactors of grandiose narcissism.MethodSelf-report measures in a non-clinical male sample N = 177.ResultsMultiple regression analyses revealed psychopathic and narcissistic (...) traits’ relation to using both benign and injurious humor. Subfactor analyses showed that aggressive and self-defeating humor were mostly associated with impulsivity and entitlement, while dominance levels actuated the use of humor to cope with stress. The cold-heartedness component of psychopathy proved to be particularly humorless, setting it aside as a distinctively disturbing psychopathic subfactor.Conclusions and implicationsHumor strongly colors the interpersonal style of both psychopathic and narcissistic personalities. Differential components of both personality types inform on the possible underlying motivations that drive the use of distinct styles of humor. This implies that psychopathic and narcissistic traits could potentially be lowered through the alternation of humor styles. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: (...) Are there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Actual anger response styles during anger encounters may well diverge from self-reported habitual anger response styles, such as anger - in, anger - out, or anger control. Also, the relationship of actual anger response styles to broad personality traits is not well known. We obtained anger self - reports, physiological reactivity (diastolic blood pressure, skin temperature at the forehead, and EMG extensor digitorum), and ratings of facial anger expression, and defined actual anger response style dimensions of “intensity”, “suppression”, “repression”, (...) and “denial” as particular patterns of discrepancies among these responses. A total of 80 female subjects were randomly assigned to a treatment (Tr) and a control (Co) group. Anger was induced through real - life provocations. Compared to Co, Tr subjects showed larger physiological responses and reported more anger. Habitual anger response styles did not predict actual styles, whereas extraversion and neuroticism did. Control subjects scoring low on extraversion or high on neuroticism reacted with high denial, that is, with stronger physiological and behavioural than experiential anger, whereas the opposite pattern of low denial was found for treatment subjects low on extraversion or high on neuroticism. These results suggest that both the particular situation and broad but not narrow personality traits exert an influence on actual anger response styles. (shrink)

Recently, researchers have shown an increased interest in achievement goal orientation correlates. What is not yet clear is the detailed relationships among students’ goal orientation, students’ personality traits, and parenting style. In so doing, this research responds to the need to analyze the importance of parenting styles and students’ traits in explaining the achievement goal orientations. In the exploratory correlational study, 586 Iranian students along with their parents were selected as the sample so as to evaluate the structure of (...) the relationships between these variables. The results indicate that students’ psychoticism and neuroticism predict students’ goal orientations while extraversion did not. Only the authoritative style predicts mastery approach and psychoticism trait. Permissive and authoritarian styles do not directly or indirectly predict students’ goal orientations. (shrink)

Contemporary ‘Fitting Attitude’ axiological frameworks – defining value in terms of having properties that provide reasons for pro-attitudes – struggle with the so-called Wrong Kind of Reasons problem. That is, they fail to offer a coherent account as to what reasons are fitted to enter our evaluative endeavors in the first place. Furthermore, WKR opens FA to charges regarding intransitivity of value ordering. I argue that revisiting Josiah Royce’s ‘plan of life’ mediating principle offers a promising reasons’ aggregation recipe, and (...) thus safeguards the transitivity axiom under FA. (shrink)

Nietzsche talks about style [Stil and cognates] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to style in over one hundred passages. Yet the scholarly literature on Nietzsche and style includes only a handful of publications, among them Derrida’s notorious Spurs: Nietzsche’s Styles (1978), which barely even engages with Nietzsche’s writings (see also Magnus 1991 and Babich 2011, 2012). Much of the rest of the literature is about (...) Nietzsche’s style, rather than about what he has to say about style. And none of it is comprehensive. In this paper, I aim to fill the gap in the secondary literature by using digital humanities methods to systematically investigate the functions of style in Nietzsche’s writings. I argue that, for Nietzsche style emerges in the context of a tradition in a community. It can then become personalized and individualized, though there are dangers with such innovations. One’s personal style is expressive of one’s psychology and physiology, and can go wrong by mis-expressing. Correlative with style, in Nietzsche’s conception, is the taste of the audience. Only those who share important psychological characteristics with the stylist will be able to fully comprehend their expressions. Finally, moving beyond aesthetics, Nietzsche connects style with moral and intellectual character, contending that the good stylist seeks recognition as such from those with good taste. (shrink)

In our article, we argue, following Nelson Goodman and Arthur Danto, that in contrast to the essentialist conception of authenticity, it is more fertile to consider authentic patterns not as the inner core of the person, but as a case of metaphorical exemplification. According to our approach, if we accept that authentic style is a metaphorical exemplification, then, based on Richard Rorty’s concepts of language and metaphor, style can be seen as an exaptation or reuse of symbols previously (...) adapted through cultural selection to other specific functions. To support this approach, we proceed as follows. First, using Goodman’s and Danto’s model, we argue that authentic style can best be grasped through metaphorical exemplification. We then show that the metaphorical use of linguistic, pictorial, and other symbols is the result of exaptation. According to our results, the authentic style is the exaptation of symbols previously adapted to culturally selected functions. We then separate authenticity from creativity through the concepts of style and manner—borrowed from Danto—and we point out that whether a particular symbol is authentic or not is not affected by whether creative or mechanical mental processes are responsible for its creation. Finally, we examine the relationship between authenticity and autonomy, and we show that in an environment that promotes autonomous decisions and authentic style, agents that originally generated inauthentic symbols may be able to produce authentic ones. (shrink)

This article reviews existing approaches to defining and distinguishing communication styles and proposes a common frame of reference for future research. The literature review yields two schools of thought: the behavior-centered perspective and the personality-oriented perspective. Although these lines of research differ in their ways of defining communication styles, they show considerable similarities with respect to their classification. Many researchers build their taxonomies on two key dimensions: assertiveness and responsiveness. We propose embedding communication styles into the Five-Factor Theory and defining (...) them as characteristic adaptations of personality. We also suggest the Interpersonal Circumplex as a reference model for distinguishing communication styles as it is able to integrate substantial dimensions and facets of existing taxonomies in a parsimonious way. (shrink)

Young and colleagues . Betwixt life and death: case studies of the Cotard delusion. In P. W. Halligan & J. C. Marshall , Method in madness: Case studies in cognitive neuropsychiatry. Mahway, NJ: Lawrence Erlbaum Associates.) have suggested that cases of the Cotard delusion result when a particular perceptual anomaly occurs in the context of an internalising attributional style. This hypothesis has not previously been tested directly. We report here an investigation of attributional style in a 24-year-old woman (...) with Cotard delusion . LU’s attributional style was assessed using the Internal, Personal and Situational Attributions Questionnaire . A new measure of causal locus: the internal, personal and situational attributions questionnaire. Personality and Individual Differences, 20, 261–264.). LU showed a significantly greater proportion of internalising attributions than the control group, both overall and for negative events specifically. The results obtained thus support an association of Cotard delusion with an internalising attributional style, and are therefore consistent with the account of Young and colleagues. The potential brain basis of Cotard delusion is discussed. (shrink)

A system of description, identification and classification of factors determining driving style is proposed in the article; stable and variable factors determining driving style are studied. Driving style is analyzed within the framework of structural approach. The variable factor are: specifications and technical condition of the vehicle, class of the car, its prestige, training of the driver, social regulators, features of the road environment, psychophysiological condition of the driver. The stable factors are: individual-typological properties, the level of (...) suitability for driver”s activities, personal features of a driver and sources of activity. Five main characteristics of driving style are selected and presented: safety-risk, confidence with parking, relation to the means of security; planning-impulsivity; driving culture. There are results of empirical research directed on discovery of relationship between styles of driving activities as one characteristic of driving style, emotions typical for driver while driving and accidents. Increase of safety as a result of planning style of activities is shown. The paper offers direction of work for optimizing driving style: the formation of compensating planning style of activities, psychotherapeutic work, modeling training, psychological selection, training and education work in driving schools. (shrink)

Companies' perceptions of corporate social responsibility have been only partially analyzed from an individual perspective that focuses on personal characteristics and professional backgrounds. However, a gap exists in the research on manager leadership styles and CSR perceptions from a gender perspective. Therefore, this article analyzes differences in attitudes toward various dimensions of CSR by focusing on the leadership styles—transformational, dominance, and dual perspectives—of male and female managers in Spain. A total of 391 respondents in top management positions in Spain (...) were surveyed. The findings revealed similarities and differences between genders with respect to leadership styles and CSR perceptions by dimension using a univariate analysis. A causal model that employed structural equation modeling was also estimated. The findings suggest that for transformational and dual leadership styles, Spanish women may be more adaptable and effective at pursuing company sustainability than Spanish men. However, dominance leadership was found to be the worst leadership style for deploying a CSR strategy. A number of conclusions for business management can be drawn, and some directions for future research are provided. (shrink)

Studies of style can be approached from two directions: the end and the means. From the end point of view, a style is a cluster of features present in artifacts; scholars usually classify the features in products to differentiate styles. Similar approaches used to examine features for further exploring the nature of style, the degree between styles, and the systematic measurement within style were extensively covered in Chap. 3. From the means point of view, a (...) class='Hi'>style is a mode by which designers’ personal and professional preferences are expressed, and studies attempt to deliberate the mode of expression to mark styles. Although most style researchers have studied both directions, their efforts cannot provide clear explanations of how a style is generated. That is because not enough research has been devoted to the study of the means used that create a style. This chapter begins to explore, through a case study, the aspects of style creation and the forces that generate a style. Studies of style approached from the means point of view conducted in various fields and the factors determining the generation of style are reviewed first. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any lover (...) of English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.3 (2002) 223-243 [Access article in PDF] Style, Rhetoric, and Postmodern Culture Bradford Vivian Modern rhetoricians habitually avoid the canon of style. The reasons for this avoidance should be familiar to those versed in the disciplinary lore of rhetoric. Since the fifth and fourth centuries B. C. E., when oratorical virtuosos like Gorgias proclaimed that "Speech is a powerful lord, which by means of (...) the finest and most invisible body effects the divinest works" (41), the suspicion that rhetorical style amounts to irrational verbal excess has dogged those who would argue for the moral integrity of the art. Most recently, twentieth-century rhetoricians, Toulmin (1958) and Perelman (1969, 1979, 1982) in particular, realigned rhetoric with the study of argumentation after its apparent reduction, during the eighteenth and nineteenth centuries, to innocuous matters of form and taste by the elocutionist and belletristic movements. Consequently, the aesthetic capacities of rhetoric have received scant attention from modern rhetoricians, who resign considerations of style largely to supposedly regrettable episodes in the history of the discipline. For better or worse, then, modern rhetorical theory lacks a contemporary rationale and methodology for the study of style. 1Beyond unfortunate equations of rhetoric with grandiloquence, this scarcity in recent rhetorical scholarship corresponds to general humanistic and social scientific prejudices against the topic of style. Robert Hariman posits, "Established academic conceptions of style hardly prepare one to take seriously the aesthetic dimension of political experience" (7). As evidence for this claim, he cites Stuart Ewen's reflections on the "frustration" peculiar to research on style: "It seemed to be a universal category," Ewen writes, "transcending topical boundaries, an accolade applied to people, places, attitudes and things... a subject that was, at best, amorphous" (quoted in Hariman, 7-8). Yet the social ubiquity of style—"[o]n news magazines, sports magazines, music-oriented magazines, magazines about [End Page 223] fashion, architecture and interior design, automobiles, and sex"—indicates that it offers "a key to understanding the contours of contemporary culture" (qtd. in Hariman, 7-8). Hence, the paradox of style as a scholarly topic: that which exhibits its cultural importance makes it seem intellectually vacuous.Hariman's treatise on political style offers the most noteworthy attempt in rhetorical studies to remedy these trends; brief consideration of his insights will suggest further objectives for the study of rhetoric and style. 2 In Hariman's estimation, "style ultimately is a significant dimension of every human experience" because "relations of control and autonomy are negotiated through the artful composition of speech, gesture, ornament, decor, and any other means for modulating perception and shaping response. In a word, our political experience is styled" (3, 2). The distinctive contribution of rhetorical inquiry into political style involves "understanding the dynamics of our social experience or the relationship between rhetorical appeals and political decisions" rather than merely "cataloging discursive forms in the artistic text alone" (Hariman, 8).Accordingly, Hariman acknowledges that one must recognize the substantive social and political influences of style apart from its traditional connotations of individual artistic performance. "In this context," he explains, "although style still highlights aesthetic reactions it no longer enforces artistic autonomy. Style becomes an analytic category for understanding a social reality; in order to understand the social reality of politics, we can consider how political action involves acting according to a particular political style" (9). Thus, for Hariman, rhetorical choices in political style need not amount to a valorization of "artistic autonomy": "each political style draws on universal elements of the human condition and symbolic repertoire but organizes them into a limited, customary set of communicative designs... Each is thoroughly conventional, yet the means for personal improvisation and intelligent, innovate responses to unique problems" (11-12). His treatise therefore appears to dissociate style from its outmoded definitions while recommending the utility of rhetorical principles to the study of political culture.What Hariman calls the "cautious postmodernism" (6) of his project, however, hinders its innovative aspirations. The postmodern portion of his work endorses the study of style according to the aesthetic dimensions of social relations rather than "artistic autonomy" alone; but its... (shrink)

The existence of an unaware psychic space that influences the way we think, perceive, and decide has been known for over a century. This space, defined by Freud as the “unconscious,” contains in it...

A study was carried out involving persons representing high-anxious, low-anxious and repressor types according to the classification of Weinberger, Davidson & Schwartz, selected using the Marlowe-Crowne Social Desirability Scale and the trait anxiety scale of the Spielberger State-Trait Anxiety Inventory. In seeking indicators of anxiety in repressors and high-anxious groups, the authors decided to analyse the level of dogmatism observed in utterance texts. The research was intended to determine whether styles of coping with threatening stimuli condition the level of dogmatism, (...) which was regarded as a cognitive defence mechanism against anxiety. The method of formal analysis of texts was used to identify their level of dogmatism, measured using the Dogmatism Quotient developed by Ertel. The highest value of the Dogmatism Quotient was recorded for repressors, and the lowest for the low-anxious subjects; a similar pattern was also observed for certain particular dimensions of dogmatism. Statistically significant differences in the level of dogmatism were found between the repressor and lowanxious groups and between the high-anxious and low-anxious groups. The study confirmed the previously discovered pattern whereby repressors exhibit more similarities to high-anxious than to low-anxious persons. (shrink)

The goal of this paper is to examine the impact of leadership and promotion regulatory focus on employees’ willingness to engage in unethical pro-organizational behavior . Building from a person–situation interactionist perspective, we investigate the interaction of leadership style and how leaders frame messages, as well as test a three-way interaction with promotion focus. Using an experimental design, we found that inspirational and charismatic transformational leaders elicited higher levels of UPB than transactional leaders when the leaders used loss framing, (...) but not gain framing. Furthermore, followers’ promotion regulatory focus moderated this relationship such that the effect held for followers with low promotion focus, but not for individuals with high promotion focus. Our findings extend the understanding of UPB, offer theoretical mechanisms to explain when this behavior occurs, and contribute to leadership theory and research on ethical decision making. (shrink)