This chapter is focused on the philosophy of film sound in the analytic tradition and its limitations; drawing from current literature in other fields, it aims to complement some philosophical discussions typically centered on the image with their aural counterparts. Firstly, it provides an overview of early skeptical views on the contribution of sound to the artistic status of films and critically questions the status of sound in contemporary philosophical conceptions of film suggesting a revision that takes (...) seriously the idea of film as an audio-visual medium. Secondly, it discusses a central topic in the philosophy of film, the idea of film realism, showing how the discussion of sound may open new directions along three different dimensions: illusion, likeness, and transparency. (shrink)

The object of study in the present article is birds, more precisely the sounds of birds as they are represented in Estonian nature writing. The evolutionary and structural parallels of bird song with human language are reviewed. Human interpretation of bird sounds raises the question, whether it is possible to transmit or “translate” signals between the Umwelts of different species. The intentions of the sender of the signal may remain unknown, but the signification process within human Umwelt can still be (...) traced and analysed. By approaching the excerpts of nature writing using semiotic methodology, I attempt to demonstrate how bird sounds can function as different types of signs, as outlined by Thomas A. Sebeok. It is argued that the zoosemiotic treatment of nature writing opens up a number of interesting perspectives that would otherwise remain beyond the scope of traditional literary analysis. (shrink)

Sound Unseen explores the phenomenon of acousmatic sound-a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses.

Paul Hirst’s reconceptualization of his epistemology provides a basis for this exploration of the various aspects of the rationale for teaching literature. The article reflects the close analysis of knowledge and the curriculum in his early work and develops insights in his later work. This leads to the identification of five strands that form the rationale for the role of literature within the curriculum. The first strand refers to the knowledge of context, cultural background, or information necessary to engage with (...) many works of literature. The second strand concerns the role of literature in providing pleasure. The third strand considers the role of literature in offering multiple forms of understanding and insight. Strands four and five address the place of literature in the educational context. The fourth strand refers to the possibilities offered for education in language by the close study of literary texts. The fifth strand concerns the honing of the ability to propose and defend arguments in the interpretation of texts as a conduit to the development of one aspect of practical reason. (shrink)

The question of what is philosophy, leads, it would seem, inevitably to diverse and conflicting, if not at times contradictory, answers. It is not only a matter of different philosophic perspectives, but also of fundamentally opposed conceptions of philosophy. Varying philosophic intentions and aims underlie what is taken to be the nature of philosophy and disagreement abounds. Philosophies then tend to differ not so much in terms of what they disagree about but what they consider philosophically sound and important. (...) Phenomenology may share some concerns about basic philosophic problems, like intentionality, with ordinary language philosophy. But they diverge again sharply about the question of what philosophy should accomplish for, and what difference it makes to, human knowledge and understanding. The one sees intentionality as the pervasive structure of human consciousness and reality, and the other sees it as simply part of the various ways in which the uses of language can explain, and thus do away with, philosophical questions on perplexity. This difference about what philosophy should accomplish, its purpose, is not resolvable. It is what on each approach must be considered the very nature of philosophy and its primary task. (shrink)

Acoustic experiences of nature represent a growing area in restorative environments research and are explored in this narrative literature review. First, the work surveyed indicates that nature is broadly characterized by the sounds of birdsong, wind, and water, and these sounds can enhance positive perceptions of natural environments presented through visual means. Second, isolated from other sensory modalities these sounds are often, although not always, positively affectively appraised and perceived as restorative. Third, after stress and/or fatigue nature sounds and soundscapes (...) can lead to subjectively and objectively improved mood and cognitive performance, as well as reductions in arousal, although some inconsistencies in findings are observed. Fourth, theoretical frameworks of restorative environments would benefit from inclusion of acoustic environmental properties such as sound intensity or frequency. Fifth, findings regarding positive, learned semantic associations with nature have arisen as a result of recent work on sounds and restoration. This represents another important area of potential theoretical development for broader restorative environments research. (shrink)

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of (...) testing whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which (...) argues that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of literature... need to (...) be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

One of the most important issues for the ideal transmission of hadith texts and isnāds is that there is no error in the writing of these expressions. For this purpose, it is seen that the hadith scholars try to create an awareness about the mistakes in the hadiths and the names of the narrators and try to minimize the mistakes by writing works. The most important examples of this literature seems to have been given in IV. /X century. In this (...) study, the reasons for the increase in the literature of hadith taṣḥīf in the IV./X century will be tried to be analyzed periodically and regionally. When the reasons for this increase are taken into consideration, it can be stated that the main factors come to the fore as the active transmission of works in the relevant period, the development of narrator literature, the decline in the profile of the narrator in this century, and the need of the Ahl al-Hadith living in the ʿAd̲j̲am regions on the subject. It is seen that the hadith scholars’ special requests from Arabic language experts for writing works also affected the formation of taṣḥīf literature. Their display of such an attitude is also important in terms of pointing out the existence of inter-scientific communication and a self-criticism about incompetent fields. (shrink)

In the recent literature on the nature of sound, there is an emerging consensus rejection of what might be thought of as the scientifically informed commonsense position: that sounds, whatever else they may be, must be entities that mediate between the source of the sound and the subject hearing it. This paper offers an argument for such "medial" theories of sound. This argument is intended to shift attention from the two considerations that have dominated the debate thus (...) far: the relevant scientific facts about audition and the spatial phenomenology of auditory experience. (shrink)

In this paper we wish to bring together two seemingly independent areas of research: synaesthesia and sensory substitution. Synaesthesia refers to a rare condition where a sensory stimulus elicits not only the sensation that stimulus evokes in its own modality, but an additional one; a synaesthete may thus hear the word “Monday”, and, in addition to hearing it, have a concurrent visual experience of a red color. Sensory substitution, in contrast, attempts to substitute a sensory modality that a person has (...) lost by transforming the information it provided so that it can be accessed through another, intact sensory modality. To make visual information accessible to a blind person, for example, data taken by a camera would be transformed into tactile or auditory information. What do synaesthesia and sensory substitution have in common? Research in both of these areas contributes to our understanding both of cross-modal cooperation and of sensory sensations or qualia, asking under what circumstances these can arise in a modality that is not stimulated. Synaesthesia reveals that this “sensory cross-activation” is possible, and sensory substitution research hopes to induce it. In this article, we will review briefly the literature on synaesthesia, and discuss the issue of qualia for this domain of research. We will then address the evidence for synaesthesia and visual qualia in the blind, and the research on sensory substitution, to finally ask whether sensory substitution may induce a ‘synthetic’ form of synaesthesia by taking advantage of the nervous system’s capacity for generating visual images in the absence of retinal input. (shrink)

A sound in a real space (e.g. a street or a room) is studied by acousticians as the relationship between an anechoic signal and the reverberant sound field. We define ‘anechoic signal’ a signal representing the pressure variation emitted by the sound source, while the ‘reverberant field’ is a field representing the sum of all the sound reflections of the environment in which the sound exists, delayed in time due to the positions of the (...) class='Hi'>sound source and the listener. The auditory ability of detecting a sound and assigning it to a source depends both on the anechoic signal and the reverberant sound field. This relationship has been analysed in acoustic literature using the autocorrelation properties of the anechoic signals and objective metrics of the sound field, the last ones being the ‘room criteria’ described in ISO 3382. In this context, the ‘effective duration’ of the autocorrelation function (τe) has been proposed as key factor to ‘preferred’ values of several room criteria in relation to different kind of music signals. Relying on some similarities between the definition of ‘auditory objects’ and the sound detection in a reverberant space, this paper proposes the use of τe as a potential tool to study and catalogue auditory objects. (shrink)

Aims and hypothesesIn an environment of absolute silence, researchers have found many of their participants to perceive phantom sounds. With this between-subject experiment, we aimed to elaborate on these research findings, and specifically investigated whether–in line with the fear-avoidance model of tinnitus perception and reactivity–fear or level of perceived threat influences the incidence and perceptual qualities of phantom sound percepts in an anechoic room. We investigated the potential role of individual differences in anxiety, negative affect, noise sensitivity and subclinical (...) hearing loss. We hypothesized that participants who experience a higher level of threat would direct their attention more to the auditory system, leading to the perception of tinnitus-like sounds, which would otherwise be subaudible, and that under conditions of increased threat, narrowing of attention would lead to perceptual distortions.MethodsIn total, N = 78 normal-hearing volunteers participated in this study. In general, the study sample consisted of young, mostly female, university students. Their hearing was evaluated using gold-standard pure tone audiometry and a speech-in-noise self-test, which is a sensitive screening test to identify subclinical hearing loss. Prior to a four-minute stay in an anechoic room, we randomized participants block design-wise in a threat and no-threat condition. Participants in the threat condition were deceived about their hearing and were led to believe that staying in the room would potentially harm their hearing temporarily. Participants were asked whether they perceived sounds during their stay in the room and rated the perceptual qualities of sound percepts. They were also asked to fill-out standardized questionnaires measuring anxiety, affect and noise sensitivity. The internal consistency of the questionnaires used was verified in our study sample and ranged between α = 0.61 and α = 0.90.ResultsIn line with incidence rates reported in the literature, 74% of our participants reported having heard tinnitus-like sounds in the anechoic room. Speech-in-noise identification ability was comparable for both groups of participants. The experimental manipulation of threat was proven to be effective, as indicated by significantly higher scores on a Threat Manipulation Checklist among participants in the threat condition as compared to those in the no-threat condition. Nevertheless, participants in the threat condition were as likely to report tinnitus percepts as participants in the no-threat condition, and tinnitus percepts were not rated as being louder or more unpleasant as a function of level of threat. For participants who did experience tinnitus percepts, a higher level of threat was associated with a higher degree of experienced unpleasantness. These associations were absent in those who did not experience tinnitus. Higher negative affect was only slightly associated with higher ratings of tinnitus unpleasantness.ConclusionWhereas our threat manipulation was successful in elevating the level of fear, it did not contribute to a higher percentage of participants perceiving tinnitus-like sounds in the threat condition. However, higher levels of perceived threat were related to a higher degree of perceived tinnitus unpleasantness. The findings of our study are drawn from a rather homogenous participant pool in terms of age, gender, and educational background, challenging conclusions that are applicable for the general population. Participants generally obtained normophoric scores on independent variables of interest: they were low anxious, low noise-sensitive, and there was little evidence for the presence of subclinical hearing loss. Possibly, there was insufficient variation in scores to find effects. (shrink)

Summary During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental (...) training and a solid musical education, typical of their Bildungsbu ü rgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. (shrink)

Italian Sounding—i. e., the Italian appearance of a product or service brand irrespective of its country of origin—represents a global market phenomenon affecting a wide range of economic sectors, particularly the agro-food sector. Although its economic impact has been repeatedly stressed from different points of view, systematic scientific knowledge regarding its social–psychological bases is lacking. Three studies carried out in three different countries address this literature gap. Different consumer groups are targeted regarding major product categories pre-selected categories, which are the (...) major Italian food goods within the specific country according to piloting. In each study, the main independent variable has been manipulated by presenting real product images, whose “Italianness” degree is effectively manipulated by the main study variable across three or four levels. Main hypotheses are tested via a survey with the specific product images administered to samples in Italy, China, and the USA. Across the three studies, results show that Made in Italy products, compared to the other ones, are advantaged in terms of the main dependent variables: reputation profile, general reputation, attitude, and willingness to pay. Moreover, Italian Sounding products are endowed with corresponding significant advantages when compared to the Generic Foreign by non-Italian samples. Results reveal the specific social–psychological profile of Italian Sounding products in terms of either weaknesses or strengths when compared to both Made in Italy products and Generic Foreign ones, differently in the eyes of Italian and non-Italian consumers across different countries. Finally, consistently across the three studies, the extent to which a food product is perceived to be Italian increases consumers' WTP for that product, and this effect is consistently mediated by the product's reputation. (shrink)

What constitutes an event? Propelled by this question, Sounding the Event encounters a variety of theories and a host of issues that have implications for not only conceptions of nature and becoming, subject and substance but also practices of time, art and photography. This book explores dialogue in its writing and as it encounters the philosophical utterances of Michel Serres, Isabelle Stengers, Alfred North Whitehead, Jean-Franbliogçois Lyotard, Maurice Blanchot, Gilles Deleuze and Fbliogelix Guattari, and Alain Badiou.

'Sound Effects' collects original articles on English and American prose fiction which analyse vocal phenomena by using the psychoanalytic concept of the object voice - introduced by J. Lacan and theorised by M. Dolar - as their interpretative tool.

From the winds of Mars to a baby's first laugh, a prolific philosopher-composer reflects on the profound imperative of sound in everyday life. Experiencing Sound presents its subject, the one sense we can never stop using, as fundamental to all experience-sensation, perception, and understanding. Lawrence Kramer turns on its head the widespread notion that vision takes pride of place among the senses and demonstrates how paying attention to sound can transform how we make meaning out of experience. (...) Through a series of brief, lyrical forays, Experiencing Sound shows that sound is the object of a primary need and an essential component in the sensation of being alive and the perception of time. It is something that we may suffer-or be made to suffer-as well as enjoy. Like its predecessor, The Hum of the World, this book ranges widely across music, philosophy, literature, art, media, and history, from classical antiquity to the present, as it invites us to experience sound anew. (shrink)

In support of their contention that it is the absence of a subsisting medium that imbues the speed of light with fundamentality, Bryan Cheng and James Read discuss certain “fishbowl universes” in which physical influences evolve, not at the speed of light, but that of sound. The Lorentz transformation simulated in these sonic universes, which the authors cite from the literature of analogue gravity, is not that of Einstein, for whom an aether was “superfluous”, but that of the earlier (...) relativity of Lorentz and Poincaré, which did suppose such a medium. The authors’ intention is not to argue analogically, but simply to contrast the situation of light with that of sound. However, I argue that these universes are too successful as analogues to support the authors’ case. By reducing Lorentzian relativity to its bare essentials, they provide a compelling demonstration of the viability and explanatory strengths of the earlier theory. They show how a thoroughly wave-theoretic treatment of the elementary particles would explain why all aspects of matter transform in like manner, thereby avoiding a difficulty that was a significant reason for the demise of Lorentzian relativity after 1905. Importantly, these sonic universes suggest a unifying explanation, not only of the Lorentz transformation and de Broglie wave, but of the principle of relativity, which was merely postulated, rather than explained, by Einstein in 1905. (shrink)

The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and (...) reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create"--Back cover. (shrink)

The author argues that Michael Polanyi’s philosophy of science can be understood as an (unconscious) attempt to recapture elements of experience largely forgotten or repressed in modernity. Specifically, the author argues that Polanyi’s epistemology appears to draw on elements of oral—aural experience that have been relatively ignored by the heavily visual sensory orientation typical of modern Western societies. The author does this by first deriving the primary features of the modern objectivist conception of knowledge from Polanyi’s critique of objectivism and (...) then using the anthropological literature on the differences between oral and literate cultures to demonstrate that these same aspects of the objectivist paradigm correspond closely to typical features of literate, visual consciousness while Polanyi’s alternative formulations correspond to a more oral—aural orientation. (shrink)

Research ethics is increasingly formally regulated, but little is known about how ethical considerations are reported in dissertations. The aim of this literature study was to describe the status and trends of ethical considerations in Swedish doctoral dissertations written by registered nurses. A total of 77 dissertations from 1987, 1997, and 2007 met the inclusion criteria and were analyzed by descriptive statistics. Ethical considerations were mostly overlooked in 1987, but almost ubiquitous by 2007. All dissertations in 2007, except one, had (...) a section on ethical considerations; however, these were short, lacking in references, and short on content. The most common topic was informed consent and approval from research ethics review boards, followed by confidentiality and ethical aspects of methodological issues. Our results imply that the quantity and quality of ethical considerations must be improved in order to assure ethical soundness for participants, patients, researchers, and society. (shrink)

In classical Chinese wu 吾 is commonly employed as the first-person pronoun, similar to wo 我 that retains its use in modern Chinese. Although these two words are usually understood as stylistic variants of “I,” “me,” and “myself,” Chinese scholars of the Zhuangzi 莊子 have long been aware of the possible differences in their semantics, especially in the philosophical context of discussing the relation between the self and the person, as evinced by their occurrences in the much-discussed line “Now I (...) have lost myself” in the chapter “Discussion on Making All Things Equal”. In this essay, I first provide an exegesis of the proffered explanations of the semantical differences between wu and wo as an introduction to two ways of understanding them in the Zhuangzi literature, viz. the single-reference view and the double-reference view. Then I shall argue against these two views in favor of the no-reference view, meaning that both pronouns in “Now I have lost myself” do not function referentially, given the peculiarity of the verb “lose.” I believe the no-reference view has not been explicitly articulated and defended in the literature, although some scholars who want to read the no-self view into the Zhuangzi might have implied it. My argument is supported by a close reading of the targeted passage in the Zhuangzi, premised on the assumption that the part on the “piping of Heaven” immediately following the discussion of losing oneself is an indirect explanation rather than a digression. My explanation is framed within a similar discussion of “I” by the British philosopher Elizabeth Anscombe. This comparative interpretation, I believe, not only provides the grounds for understanding Zhuangzi’s ideal of attaining the state where “the ten thousand things are one with me,” but also demonstrates how metaphysics and the philosophy of language are two interwoven threads in Zhuangzi’s reasoning. (shrink)

The current literature on norms of inquiry features two families of norms: norms that focus on an inquirer’s ignorance and norms that focus on the question’s soundness. I argue that, given a factive conception of ignorance, it’s possible to derive a soundness-style norm from a version of the ignorance norm. A crucial lemma in the argument is that just as one can only be ignorant of a proposition if the proposition is true, so one can only be ignorant with respect (...) to a question if the question is sound. (shrink)

Although developmental dyslexia is frequently diagnosed in Poland, little knowledge of effective treatment for this disorder is available in Polish society. Remedial teachers for many years have applied traditional methods aimed at correction and compensation for affected cognitive functions and academic skills. Otherwise, although western therapies are regularly advertised in the media, their effectiveness has rarely been subject to scientific investigation. Since the assumptions underlying some approaches are not consistent with current understanding of cognitive function, they may attract negative expert (...) appraisal. Unfortunately, it seems that fashion in dyslexia therapy is resistant to rare expressions of criticism from the scientific community. The purpose of this article is to promote awareness about effective treatment for specific reading disorders. Teachers’ greater understanding in this area should help Polish dyslexic children and their parents, who may be confused by offers of misguided therapy and sharp business practise. It is hoped that this article will clarify the situation. In this review of modern English journal articles, focus is on remedial teaching of reading, and more specifically, support for dyslexic students experiencing difficulties in decoding. Here we are concerned only with therapy in alphabetic languages in which individual speech sounds correspond to letters. Analysis of articles from the last six years leads to the conclusion that the most effective therapy for the reading disorder is training in phonological awareness and consolidation of letter-sound knowledge. However, these skills should be practised in the context of reading. (shrink)

It is widely assumed that, with a few notable exceptions, Japanese literature, and especially the work of novelist Yasunari Kawabata, focuses on beauty, emotion, and psychology, and that this focus is at the expense of moral or ethical exploration.Kawabata was Japan’s first winner of the Nobel Prize in Literature, so to misunderstand his work so fundamentally is not just a matter for aficionados of arcana. The mistake deprives the international reading public of an important philosophical resource for understanding the modern (...) world, the various phenomena of complicated grief, the effects of the atomic bombings and mass trauma more generally—and, yes, the postwar Japanese.1The Sound of the Mountain,2 serialized in.. (shrink)

Over the last two decades, Science Studies has produced a fascinating body of literature on visual representation. A crucial part of that literature has explored the materiality of visual representation, primarily the “rendering practices” that make visual representations possible and embody epistemic virtues attached to the scientific self. This essay explores the practices and capacities that support visual representation, but it looks to a seemingly unlikely place for inspiration—the growing literature on the uses of sound in science. My interest (...) here is to see how that literature points us to a view of sound as an epistemic resource that supports the visual. If there is a visual emphasis in modern science, it is made possible by a set of material practices that are only partly visual. As such, this essay suggests how the history of visual representations in science might be bound up with a history of scientific aurality. (shrink)

Works in science and technology studies have repeatedly pointed to the importance of the visual in scientific practice. STS has also explicated how embodied practice generates scientific knowledge. I aim to supplement this literature by pointing out how sound and hearing are integral aspects of experimentation. Sound helps define how and when lab work is done, and in what kinds of spaces. It structures experimental experience. It affords interactions between researchers and instruments that are richer than could be (...) obtained with vision alone. And it is a site for tacit knowledge, providing a resource for the replication of results, and the transmission of knowledge, and the construction of social boundaries within instrumental communities. (shrink)

Pali classical grammars reflect a specific idea of what Pali Buddhist texts are. According to this traditional idea, texts are mainly conceived as sound and therefore the initial portions of every grammar deal with sound and sound ligature or sandhi. Sandhi in Pali does not work as systematically as it does in Sanskrit and therefore Pali grammarians have struggled with the optionality of many of their rules on sound ligature. Unlike modern linguists, however, they identify certain (...) patterns of fixed or frozen sandhis that are often associated to the formulas of Pali prose. This paper focuses on these specific frozen sandhis in Pali prose and their connection to the nature of Pali literature broadly. The main working hypothesis is the following: in the same way that certain frozen sandhis in verse obey metrical patterns, frozen sandhis in prose suggest that Pali speech-sounds are subordinated to formulaic rhythmic structures. (shrink)

In ‘Reading and Its Discontents’, Anne Emmanuelle Berger makes a plea for the specificity of reading literature. Unlike other kinds of reading, the reading of literature has the unique ability to ‘keep the wound open’. As such, it can never be reduced, as some have recently tried, to just another form of culture production or to some politically motivated pedagogical therapeutics. It is also a type of reading, this essay will argue, that cannot be reduced to the kind of silent (...) reading that, as Derrida demonstrated in ‘Plato’s Pharmacy’, has been the model and telos of reading since Plato. After a brief look at the controversy surrounding the history of silent reading, this essay looks at the question of reading in Plato and, especially, at the surprising number of references in the dialogues to Socrates as a reader. It then turns to Derrida’s reading of Plato in ‘Plato’s Pharmacy’, first to Derrida’s critique of the Platonic model of reading and writing in the dialogues and then to the deployment of a new kind of philosophical reading and writing in Derrida’s own work, a reading that, as Berger herself suggests, is always also a writing, a reading that is itself then always double, at once silent and aloud. (shrink)

The likeness of sound between rhyming words is arbitrary, but words have meanings. Thus rhyme schemes carry an implicit meaning over against the explicit meaning of the lines in which they occur. The use of "death" and "breath" and other rhymes in Swinburne illustrates this duality, especially in his great sonnet addressed to Death. This prompts a discussion of the role of meter and rhyme in the physiology of dreams and memory, the human propensity to make rules, translations of (...) Dante, the comic rhymes of Noel Coward, and the real meaning of Seinfeld. (shrink)

This article sets out to think through the double absence of literary language posited by Blanchot in L’Espace littéraire in the shadow cast by a consideration of Alvin Lucier’s piece I am sitting in a room and the sound installation practice of Bernhard Leitner. What I wish to suggest is that a consideration of these sound works enables us to identify a parallelism in the mechanics of the literary sign that creates the space of literature in Blanchot and (...) the phenomenological experience of the visitor entering into and thereby enacting the space of installation. If the term “phenomenological” here requires a parenthetical qualifier, this is because the double absence enacted on the sign in Blanchot is deployed here from within the visitor in the creation of the space of installation in a move that requires us to reformulate our thinking about the creation of space of all kinds. In revisiting Blanchot’s L’Espace littéraire in this way, it is suggested that the ethical and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gary Borjesson A SOUNDING OF WALDEN'S PHILOSOPHICAL DEPTH It is hard to make up one's mind about Waiden. One expects die spiritual landscape to be familiar, so familiar perhaps diat you need not read die book to feel you know it. But Waiden disappoints this expectation. Having read it, one may wonderjust what is so familiar or American about Thoreau's sensibility. And righdy so. Waiden is long on observation (...) and short on plot, as tedious in its detail as it is devoid of action. It is a wondrously slow, contemplative work and would be demanding enough for this reason alone, to say nothing of the enormous vocabulary, the abundant allusions to classical mythology, and die Latin and Greek scattered tiiroughout—all of which hint that despite his democratic rhetoric, Thoreau addresses himself to a rather small audience. Like the lusty chanticleer, "standing on his roost, ifonly to wake his neighbors up," Waiden speaks to the best part of the soul, to that in us which is divinely awake or mindful.1 Such speeches necessarily transcend not only America's borders, but common-sense understanding as well, "the sense ofmen asleep, which they express by snoring" (p. 325). As Thoreau puts it: "I desire to speak somewhere widiout bounds; like a man in a waking moment, to men in dieir waking moments" (p. 324). This desire "to speak somewhere without bounds" is philosophical. Waiden witnesses to die philosophical experience of the world. Originating in wonder and die desire to understand, Waiden moves dirough die senses, experience, the arts, and science. But its specifically philosophical character lies in Thoreau's evident desire to situate all tilings, including himself, in dieir ultimate context. Recognizing the integrity of this desire means appreciating that the full realization of one's nature requires discovering one's place in die cosmos. Philosophy and Literature, © 1994, 18: 287-308 288Philosophy and Literature The tiiree parts of this essay articulate what I take to be philosophical about Thoreau's sensibility. The first part considers Thoreau as a surveyor of the whole of things, a traditionally philosophical endeavor. The second part examines Thoreau's desire for truth and shows how it must be distinguished from the tenets of transcendental philosophy generally and Emerson's transcendentalism in particular. Contrary to a common opinion, a true estimation of Walden's philosophical depth hinges on seeing why Thoreau is not a transcendentalist. Some may worry that attention to these universal, theoretical features ofThoreau's workjeopardizes doingjustice to his famously idiosyncratic individualism. But Thoreau does not ask one to choose either allegiance to oneself or to universal laws: such a dichotomy is false and must be sublated. Thus the final part of this essay explicates how Thoreau envisions the web of particular and universal, the alignment of individual and cosmos. I conclude by framing my disagreement with Stanley Cavell's reading of Waiden. As the only well-known philosopher to have devoted a book-lengtii study to Waiden, his influence has been great, and on central points his reading sanctions the common emphasis on subjectivity.2 Two last prefatory remarks. First, Waiden is not a work in philosophy, at least not a treatise, for Thoreau does not explain his insights thematically. Nevertheless, the work has a distinct philosophical character, one I shall try to sketch with die degree of precision appropriate to it. This raises my second point. Precision does not sit easily with comprehensiveness or with the need to praise. All three are relevant to philosophical understanding, yet Thoreau evidently felt that synoptic contemplation and all its fruits, including "any memorable praise of God," were in die shorter supply (p. 78). As Thoreau tells it, he wished to "cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms," "to front only the essential facts," "and if [life] proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to die world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion" (pp. 90—91). If Thoreau is right... (shrink)

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this theory for (...) one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

This is the first study to examine the relationship between sustainability and soundness in banking as part of an integrated reporting approach. We consider 12 major European banks over the period 2006–2016. To test the relationship, two indexes were constructed, the sustainable performance index, which attempts to measure sustainability, and the banking soundness index, which measures bank soundness. The results show a bidirectional causality between sustainability and banking soundness. More specifically, soundness encourages banks to engage in sustainable development activities, while (...) the implementation of a sustainable development approach has a negative effect on banking soundness. Our research contributes to the literature on this topic in two ways. First, we propose a new method for measuring banking soundness based on a Bayesian approach. This approach allows us to study a large number of criteria and allows us to determine proactively the importance and the contribution of different determinants in achieving soundness. In addition, to the best of our knowledge, this is the first study that attempts to study the relationship between bank soundness and sustainability. (shrink)

ABSTRACTIn order to explain the effects found in the heuristics and biases literature, dual-process theories of reasoning claim that human reasoning is of two kinds: Type-1 processing is fast, automatic, and associative, while Type-2 reasoning is slow, controlled, and rule based. If human reasoning is so divided, it would have important consequences for morality, epistemology, and philosophy of mind. Although dual-process theorists have typically argued for their position by way of an inference to the best explanation, they have generally failed (...) to consider alternative hypotheses. Worse still, it is unclear how we might test dual-process theories. In this article, I offer a one-system theory, which I call the Sound-Board Account of Reasoning, according to which there is one reasoning system which is flexible, allowing the properties used to distinguished Type-1 and Type-2 reasoning to cross-cut one another. I empirically distinguish my theory from the two dominant versions of dual-process theory (parallel... (shrink)

In the present article, I show that sounds are properties that are not physical in a narrow sense. First, I argue that sounds are properties using Moorean style arguments and defend this property view from various arguments against it that make use of salient disanalogies between sounds and colors. The first disanalogy is that we talk of objects making sounds but not of objects making colors. The second is that we count and quantify over sounds but not colors. The third (...) is that sounds can survive qualitative change in their auditory properties, but colors cannot survive change in their chromatic properties. Next, I provide a taxonomy of property views of sound. As the property view of sound has been so rarely discussed, many of the views available have never been articulated. My taxonomy will articulate these views and how they are related to one another. I taxonomize sounds according to three characteristics: dispositional/non-dispositional, relational/non-relational, and reductive/non-reductive. Finally, mirroring a popular argument in the color literature, I argue that physical views in the narrow sense are unable to accommodate the similarity and difference relations in which sounds essentially stand. I end replying to three objections. (shrink)

When The Sound of One Hand Clapping came out in Japan in 1916 it caused a scandal. Zen was a secretive practice, its wisdom relayed from master to novice in strictest privacy. That a handbook existed recording not only the riddling koans that are central to Zen teaching but also detailing the answers to them seemed to mark Zen as rote, not revelatory. For all that, The Sound of One Hand Clapping opens the door to Zen like no (...) other book. Including koans that go back to the master who first brought the koanteaching method from Japan to China in the eighteenth century, this book offers, in the words of the translator, editor, and Zen initiate Yoel Hoffmann, "the clearest, most detailed, and most correct picture of Zen" that can be found. What we have here is an extraordinary introduction to Zen thought as lived thought, a treasury of problems, paradoxes, and performance that will appeal to artists, writers, and philosophers as well as Buddhists and students of religion. (shrink)

The interest in crossmodal correspondences, including those involving sounds and involving tastes, has experienced rapid growth in recent years. However, the mechanisms underlying these correspondences are not well understood. In the present study (N = 302), we used an associative learning paradigm, based on previous literature using simple sounds with no consensual taste associations (i.e., square and triangle wave sounds at 200 Hz) and taste words (i.e., sweet and bitter), to test the influence of two potential mechanisms in establishing (...) class='Hi'>sound–taste correspondences and investigate whether either learning mechanism could give rise to new and long‐lasting associations. Specifically, we examined an emotional mediation account (i.e., using sad and happy emoji facial expressions) and a transitive path (i.e., sound‐taste correspondence being mediated by color, using red and black colored squares). The results revealed that the associative learning paradigm mapping the triangle wave tone with a happy emoji facial expression induced a novel crossmodal correspondence between this sound and the word sweet. Importantly, we found that this novel association was still present two months after the experimental learning paradigm. None of the other mappings, emotional or transitive, gave rise to any significant associations between sound and taste. These findings provide evidence that new crossmodal correspondences between sounds and tastes can be created by leveraging the affective connection between both dimensions, helping elucidate the mechanisms underlying these associations. Moreover, these findings reveal that these associations can last for several weeks after the experimental session through which they were induced. (shrink)

The most powerful assumption in French semiotic thought since Saussure has been the notion that a sign consists not of a name and the object it refers to, but of a sound-image and a concept, a signifier and a signified. Saussure, as amplified by Roland Barthes and others, has taught us to recognize an unbridgeable gap between words and things, signs and referents. The whole notion of "sign and referent" has been rejected by the French structuralists and their followers (...) as too materialistic and simple minded. Signs do not refer to things, they signify concepts, and concepts are aspects of thought, not aspects of reality. This elegant and persuasive formulation has certainly provided a useful critique of naive realism, vulgar materialism, and various other-isms which can be qualified with crippling adjectives. But it hasn't exactly caused the world to turn into a concept. Even semioticians eat and perform their other bodily functions just as if the world existed solidly around them. The fact that the word "Boulangerie" has no referent does not prevent them from receiving their daily bread under that sign. As Borges put it: "The world, alas, is real; I, alas, am Borges." Obviously, the whole question of the relationship between words and things cannot be debated without any assistance from nonverbal experience seems to me highly unlikely. In my view, if language really were a closed system, it would be subject, like any other closed system, to increase in entropy. In fact, it is new input into language from nonverbal experience that keeps language from decaying. Robert Scholes, professor of English and director of the program in semiotic studies at Brown University, is co-author of The Nature of Narrative and author of Structuralism in Literature. A Guggenheim fellow for 1977-78, he is currently working on "A Semiotics of Fiction." He has also contributed "Language, Narrative, and Anti-Narrative" to Critical Inquiry. (shrink)

An important and supposedly impactful form of clinical ethics support is moral case deliberation. Empirical evidence, however, is limited with regard to its actual impact. With this literature review, we aim to investigate the empirical evidence of MCD, thereby a) informing the practice, and b) providing a focus for further research on and development of MCD in healthcare settings. A systematic literature search was conducted in the electronic databases PubMed, CINAHL and Web of Science. Both the data collection and the (...) qualitative data analysis followed a stepwise approach, including continuous peer review and careful documentation of our decisions. The qualitative analysis was supported by ATLAS.ti. Based on a qualitative analysis of 25 empirical papers, we identified four clusters of themes: 1) facilitators and barriers in the preparation and context of MCD, i.e., a safe and open atmosphere created by a facilitator, a concrete case, commitment of participants, a focus on the moral dimension, and a supportive organization; 2) changes that are brought about on a personal and inter-professional level, with regard to professional’s feelings of relief, relatedness and confidence; understanding of the perspectives of colleagues, one’s own perspective and the moral issue at stake; and awareness of the moral dimension of one’s work and awareness of the importance of reflection; 3) changes that are brought about in caring for patients and families; and 4) changes that are brought about on an organizational level. This review shows that MCD brings about changes in practice, mostly for the professional in inter-professional interactions. Most reported changes are considered positive, although challenges, frustrations and absence of change were also reported. Empirical evidence of a concrete impact on the quality of patient care is limited and is mostly based on self-reports. With patient-focused and methodologically sound qualitative research, the practice and the value of MCD in healthcare settings can be better understood, thus making a stronger case for this kind of ethics support. (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)