To explain how social cognition normally serves us in real life, we need to ask which factors contribute to specific social interactions. Recent accounts, and mostly pluralistic models, have started incorporating contextual and social factors in explanations of social cognition. In this paper, I further motivate the importance of contextual and identity factors for social cognition. This paper presents scripts as an alternative resource in social cognition that can account for contextual and identity factors. Scripts are normative and (...) context-sensitive knowledge structures that describe behavior in terms of corresponding events, situations, social roles, individuals, or mental state types in a way that guides action. The script approach presented here builds on recent accounts of social cognition but points out important differences and possible advantages it has over them: for example, the script approach focuses even more strongly on context and identity. (shrink)

To explain how social cognition normally serves us in real life, we need to ask which factors contribute to specific social interactions. Recent accounts, and mostly pluralistic models, have started incorporating contextual and social factors in explanations of social cognition. In this paper, I further motivate the importance of contextual and identity factors for social cognition. This paper presents scripts as an alternative resource in social cognition that can account for contextual and identity factors. Scripts are normative and (...) context-sensitive knowledge structures that describe behavior in terms of corresponding events, situations, social roles, individuals, or mental state types in a way that guides action. The script approach presented here builds on recent accounts of social cognition but points out important differences and possible advantages it has over them: e.g., the script approach focuses even more strongly on context and identity. (shrink)

Depression is a widespread concern in the United States. Neuromodulation treatments are becoming more common but there is emerging concern for racial disparities in neuromodulation treatment utilization. This study focuses on Transcranial Magnetic Stimulation (TMS), a treatment for depression, and the structural and attitudinal barriers that racialized individuals face in accessing it. In January 2023 participants from the Twin Cities, Minnesota engaged in focus groups, coupled with an educational video intervention. Individuals self identified as non-white who had no previous TMS (...) exposure but had tried at least one treatment for their depression. Results revealed that the intervention did not notably change knowledge or stigma about TMS, but attitudes surrounding traveling for treatment changed. Notably, barriers like affordability, frequency of treatment, and lack of knowledge persist. Participants expressed a desire for more information, personal connection, and a tailored educational approach. The study suggests a need for multifaceted strategies to reduce disparities, focusing on education, community-based resources, and policy interventions. Immediate actions that can be taken include the creation of a TMS education program focused on patient engagement and awareness about TMS. (shrink)

As clinical-psychological scientists and practitioners increasingly work with diverse populations of traumatized people, it becomes increasingly important to attend to cultural models that influence the ways in which people understand and describe their responses to trauma. This paper focuses on potential uses of the concept of cultural script in this domain. Originally described by cognitive psychologists in the 1980s, scripts refer to specific behavioral and experiential sequences of elements such as thoughts, memories, attention patterns, bodily sensations, sleep abnormalities, emotions (...) and affective expressions, motivation, coping attempts and ritualized behaviors that are relevant to posttraumatic adjustment. We differentiate between experiences of traumatic stress that are scripted (e.g., cultural explanations are available) versus unscripted. Further characteristics such as script tracks, the effect of script interruptions, and contextual fit of scripts with other cultural models are also described. We consider examples of traumatic stress associated with war and organized, sexualized violence from ‘Western’ and ‘non-Western’ world regions. The concluding part of this review describes a number of possibilities for methodological approaches to assessment of cultural scripts. Capturing central elements of the script(s) of trauma would aid psychological researchers and clinicians in understanding the experiences of trauma in cultural context, which could ultimately lead to better clinical service opportunities worldwide. (shrink)

Much of the research on the delivery of advice by professionals such as physicians, health workers and counsellors, both on the telephone and in face-to-face interaction more generally, has focused on the theme of client resistance and the consequent need for professionals to adopt particular formats to assist in the uptake of the advice. In this article we consider one setting, Kid’s Helpline, the national Australian counselling service for children and young people, where there is an institutional mandate not to (...) give explicit advice in accordance with the values of self-direction and empowerment. The article examines one practice, the use of script proposals by counsellors, which appears to offer a way of providing support which is consistent with these values. Script proposals entail the counsellors packaging their advice as something that the caller might say — at some future time — to a third party such as a friend, teacher, parent or partner, and involve the counsellor adopting the speaking position of the caller in what appears as a rehearsal of a forthcoming strip of interaction. Although the core feature of a script proposal is the counsellor’s use of direct reported speech, they appear to be delivered not so much as exact words to be followed, but as the type of conversation that the client needs to have with the third party. Script proposals, in short, provide models of what to say as well as alluding to how these could be emulated by the client. In their design, script proposals invariably incorporate one or more of the most common rhetorical formats for maximizing the persuasive force of an utterance such as a three-part list or a contrastive pair. Script proposals, moreover, stand in a complex relation to the prior talk and one of their functions appears to be to summarize, respecify or expand upon the client’s own ideas or suggestions for problem solving that have emerged in these preceding sequences. (shrink)

We introduce the question whether there are specific kinds of writing modalities and practices that facilitated the development of modern science and mathematics. We point out the importance and uniqueness of symbolic writing, which allowed early modern thinkers to formulate a new kind of questions about mathematical structure, rather than to merely exploit this structure for solving particular problems. In a very similar vein, the novel focus on abstract structural relations allowed for creative conceptual extensions in natural philosophy during the (...) scientific revolution. These preliminary reflections are meant to set the stage for the following contributions in this volume. (shrink)

ABSTRACTThe ability to regulate emotions is essential for psychological well-being. Therefore, it is particularly important to investigate the specific dynamics of emotion regulation. In a new appr...

Scripts and deception are alternative means, both imperfect, to the goal of simulating an environment that cannot be created readily. Under scripts, participants pretend they are in that environment, while deception convinces participants they are in that environment although they are not. With repeated trials, they ought to be unnecessary. But they are not, which poses challenges to behavioral sciences.

: Computer-mediated environments provide an arena for learning to argue. We investigate to what extent student dyads’ online argumentation can be facilitated with collaboration scripts that prompt learners to prepare individually, create conflict, and encourage productive collaboration and argumentation. A process analysis of the chats of the dyads showed that the scripted treatment group used significantly more words and broadened and deepened their discussions significantly more than the unscripted group. Qualitative analysis indicates that scripted learners engaged in more critical (...) and objective argumentation than non-scripted learners. (shrink)

We analyse the role of a theatrical script and its relation to the literary work and the theatrical performance. We put forward an Argument from Modality, which demonstrates structural and functional differences between literary works and theatrical scripts. Next, we answer some potential challenges to our argument. We demonstrate that the failure to realize the far-reaching consequences of a clear distinction between the literary work and the theatrical script is a source of confusion in the debate on the relata (...) of the relation of interpretation. In particular, we show that the relation of interpretation does not hold directly between the literary work and the theatrical performance. It is mediated by the script. The script interprets the literary work by filling in its places of indeterminacy and adjusting it for stage purposes. Moreover, the script, which is a set of instructions, is executed rather than interpreted in a theatrical performance. (shrink)

Modern scripts for dying in hospice or by euthanasia are inapplicable to the dwindling of long old age, often experienced as social ‘death before death’. The article critiques the rhetoric of ‘death before death’ used of Alzheimer’s patients, and draws attention to an alternative valuation of death of self in the Christian tradition.

The interventionist turn in science and technology studies increasingly involves researchers with practices of technology development and thus entails the need for appropriate methodologies. Based in software engineering, this article introduces the deconstructive technique of “mind scripting” as a method for analyzing processes of the co-materialization of gender and technology and as a tool to support cooperative, reflective work practices. Anchored in critical design approaches, “mind scripting” is a means for development teams to disclose discourses implicitly guiding work practices in (...) order to make negotiable the underlying value systems. After discussing its foundation in deconstructivist feminist theory, the author illustrates how the method is applied by drawing on selected empirical results. Generating insights into the reproduction of hegemonic social discourses in development processes, “mind scripting” enables the rethinking of established ways of doing. (shrink)

Situationist research highlights the fact that situational features often influence our behavior in unexpected ways. Virtue ethicists tend to think they can explain away such results, and prescribe cultivating virtue to ward against such moral failings. Situationists argue that studies like these uncover deep flaws within the moral psychology presumed by virtue ethicists, and hold that virtues may be an inadequate grounding for moral behavior and moral education. Using the concept of cognitive scripts from psychology, I describe a new (...) approach to moral education. The course focuses activities on written and performed scripts to encourage students to imagine hypothetical scenarios in real time, adopt the perspectives of others, evoke and alter their emotions, and ultimately, to revise their implicit, cognitive scripts. Attending to and altering cognitive scripts not only captures many theoretical and empirical insights from virtue ethics and situationism, but also offers a more sophisticated model of moral psychology and a better approach to moral education. (shrink)

The best-known controversy in film criticism of recent years has been over the authorship of the Citizen Kane script. Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. Contrary to what Orson Welles would like us to believe, Kael charged, the script for the film was actually not his work but almost wholly the work of an all-but-forgotten figure, one of Hollywood's veteran screenwriters, Herman J. Mankiewicz. . . . The first two drafts (...) of the Citizen Kane script were written by Herman Mankiewicz and John Houseman in seclusion in the desert at Victorville, California, during March, April, and May 1940. Officially, Houseman was there as an editor. But part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation for seeing things through. Detailed accounts of the Victorville interlude have been given by Houseman in his autobiography and by Kael in "Raising Kane." There was constant interchange between Victorville and Hollywood, with Houseman going in to confer on the script and Welles sending up emissaries and regularly receiving copies of the work in progress. Welles in turn was working over the draft pages with the assistance of his own secretary, Katherine Trosper, and handing the revised screenplay copy in its rough state over to Amalia Kent, a script supervisor at RKO noted for her skills at breaking this kind of material down into script continuity form, who was readying it for the stenographic and various production departments.1 · 1. John Houseman, Run-Through: A Memoir , pp. 445-61. "Raising Kane," pp. 29-39. Amalia Kent had impressed Welles with her work on the problematic first-person script for his unproduced Heart of Darkness film, and she worked directly with him on various script supervision capacities on other of his RKO projects, including The Magnificent Ambersons and the unproduced Smiler with the Knife. She also continued as the script supervisor throughout the shooting of Citizen Kane and prepared the cutting reports for the film's editor, Robert Wise. Kael gives the impression that Rita Alexander, Herman Mankiewicz's private secretary, was performing all these specialized studio functions herself. Robert L. Carringer is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign and the author of Ernst Lubitsch. His forthcoming edition of The Jazz Singer will begin the Warner Brothers script series. "Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative," his previous contribution to Critical Inquiry, appeared in the Winter 1975 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Script RoseJoseph S. CatalanoLearning to read words, musical notes or numbers is a process by which we attach sounds, pictures and meanings to marks. Looked at in this way, the English script “rose” is a sign of a sound, a picture or a meaning. But when we read fluently is the word “rose” a sign? I think not; and I shall try to make a case that, to (...) the properly disposed reader, the script “rose” (hereafter written rose) is a rose.ITo have the perspective I require on reading, a quasi-Davidsonian distinction between causes and reasons may be useful. Early training in matching marks with sounds and pictures, surface irritations of light on the eye, stimulation and fixing of our entire neurological complex are all part of the causal network of our ability to read. But none of these causes are the reasons for our ability to be absorbed in reading a text.Of course, a distinction between causes and reasons does not, of itself, explain how the written page can be a world in which we find things such as roses. In order to see how the script rose got to be a rose, it is useful to suspend the usual questions that we ask about written language. Thus, we must not concern ourselves about the ambiguity that might arise because the word rose can be taken to mean a flower, a hue or a person, nor about what happens when we translate from one language to another, nor about the distinction between a sign, whether natural or artificial, and what is signified, nor whether written language [End Page 85] corresponds to something other than itself, nor the question of the meaning of meaning.IIWe created better than we knew, when we invented writing. We intended to represent the spoken word; but we made roses, dreams and lives exist as marks on a page. If this seems mysterious, it is a mystery that is present in every artifact, and what I seek is a perspective on written language precisely as an artifact.Of course, scripts are artifacts, but what I am after is the workmanship. The workmanship is both obvious and hidden. It is there for us to see; it is what we read. But we do not see it as forged over a long period of time just to serve its function as marks that are readable.In general, certain aspects of written language are similar to ordinary artifacts, others are not so. The difference is more obvious than the similarity: Scripts differ from ordinary artifacts, because we first approach them as signs of sounds, pictures or meanings: A child does not learn about sitting by looking at a chair as a sign of a chair; for example, the child does not squat on the floor, when it sees a chair. More importantly, the craftsmanship that gave us written language, especially alphabetic writing, was directed toward forging “arbitrary” marks, and a chair is certainly not an arbitrary representation of something to sit upon. In Quiddities, in the section “A” for “Alphabet,” W. V. Quine neatly summarizes the remarkable feat of discovering meaningless marks to represent sounds.... the full power of writing awaited the convergence of writing with speech, and this reached its early stages five thousand years ago. Depictions of visible objects came to be pressed into phonetic duty on the rebus principle, as if in English we were to write melancholy by depicting a melon and a collie. This expedient was rendered more flexible and powerful, if less picturesque, by devoting the phonetic representations to brief sounds—single consonants or syllables. The sound was represented by a hieroglyph depicting something whose name merely began with that sound. The rebus principle thus gave way to an acrophonic one.It was a notable step of abstraction. Finding a melon and collie in melancholy is a matter of punning with familiar words; extracting a meaningless me-, on the other hand, and meaningless lan-, and so on, calls for appreciating fugitive sounds that are not words and name nothing.(pp. 1–2)[End Page 86]Quine is right to follow the traditional claim that writing... (shrink)

In highly routinised service encounter interactions, communication is often guided by service scripts that are the material embodiment of institutional expectations of how the service interaction is to be conducted. However, counter to common belief that scripted communication is well-controlled and homogeneous in its execution, observation of actual talk reveals interesting patterns and variations that reflect the ways in which participants make meaning of and perform their respective roles within the interaction towards achieving the overall goal of the service (...) communication. Applying the analysis of speech functions and sequential order of talk in audio-recorded verbal exchanges between servers and customers at the service counter of a fast-food restaurant, acts in the fast-food service interaction are interpreted and explained in relation to management-prescribed service script, servers’ script-in-use and customers’ script within an institutional discourse framework. Findings from the study have important implications for service management and training as it addresses the tension between the practices on the ground and those sanctioned by the organisation. (shrink)

In her first book, Joanne W. Golann takes on the challenge of examining America’s most celebrated franchise of charter schools, the Knowledge is Power Program (KIPP). While many academics have penn...

One version of the Humean Theory of Motivation holds that all actions can be causally explained by reference to a belief–desire pair. Some have argued that pretense presents counter-examples to this principle, as pretense is instead causally explained by a belief-like imagining and a desire-like imagining. We argue against this claim by denying imagination the power of motivation. Still, we allow imagination a role in guiding action as a script . We generalize the script concept to show how things besides (...) imagination can occupy this same role in both pretense and non-pretense actions. The Humean Theory of Motivation should then be modified to cover this script role. (shrink)

The book contains essays in honor of Victor Raskin. The contributions are all directly related to some of the major areas of work in which Raskin's scholarship has spanned for decades. The obvious connecting idea is the encyclopedic script-based foundation of lexical meaning, which informs his pioneering work in semantics in the 1970s and 1980s. The first part of the book collects articles directly concerned with script-based semantics, which examine both the theoretical and methodological premises of the idea and its (...) applications. Script-based semantics is the foundation of both Raskin's ground-breaking work in humor research (addressed by the articles in part 2) and in Ontological semantics (addressed in part 3), the most recent development of script-based semantics. The fourth part is dedicated to a less-known, but equally important, strand of Raskin's research, the applications of linguistics to other fields, including writing, lexicography, and professional applications (e,g., tourism). Overall, the book provides and up-to-date, in-depth discussion of an influential strand of the discussion on semantics and its most recent developments and influence on other seemingly unrelated fields, such as Cognitive Linguistics. (shrink)

Different languages present a variety of ways of talking about emotional experience. Very commonly, feelings are described through the use of ¿body image constructions¿ in which they are associated with processes in, or states of, specific body parts. The emotions and the body parts that are thought to be their locus and the kind of activity associated with these body parts vary cross-culturally. This study focuses on the meaning of three ¿body image constructions¿ used to describe feelings similar to, but (...) also different from, English ¿jealousy¿, ¿envy¿, and ¿covetousness¿ in the West African language Ewe. It is demonstrated that a ¿moving body¿, a pychologised eye, and red eyes are scripted for these feelings. It is argued that the expressions are not figurative and that their semantics provide good clues to understanding the cultural construction of emotions both emotions and the body. (shrink)

This paper introduces the concept of Virtual Documents and its prototypical realization in our TNTBase system, a versioned XML database. VDs integrate XQuery-based computational facilities into documents like JSP/PHP do for relational queries. We view the integration of computation in documents as an enabling technology and evaluate it on a handfull of real-world use cases.

Capability theory improves our understanding of well being because it takes account of the “conversion” problem: income/wealth/commodities. need to be made effectively available to really increase well being. However, just as IWCs need to be converted into functionings in order to be effective in bringing additional possibilities to a person, our institutions, abilities and environments need to be converted as well to allow them to be used effectively in the same pursuit. Freedom of the press and speech, education and certainly (...) economic independence as well as the democratic political processes themselves are as inert as IWCs without some additional conversion to enable them to do what we have set them up to do. The moniker “conversion factor” is the name of the problem rather than the source of a solution. This paper will explore the possibility that the needed theoretical addition to capability theory might be found by understanding how the elements of the capabilities equation change over time. Using education as an example of a conversion factor, the paper will explore how an addition to the theory might help create effective policy alternatives. (shrink)

Chinese traditional characters share with Peirce’s existential graphs the fact of being endowed with an object-language that they describe through a nonlinear syntax and in an iconic way. Here iconicity is not restricted to images and perceptive similarity since diagrams and graphic metaphors are iconic too. The graphs are shown to be a borderland between Western traditional logic and Chinese traditional writing and culture, so the écart (Jullien’s concept for cultural distance) between characters and graphs is preserved even though graphs (...) break with the Western prejudice in favor of conventionality at the expense of iconicity in logical systems. The take-home lesson for the study of writing systems is to substitute the orality-writing duality with the interplay among orality, writing, and pictures thus shifting from a linguistic typology to a semiotic one. (shrink)

:This essay investigates the relationships among scripts, schemata, and social norms. The authors examine how social norms are triggered by particular schemata and are grounded in scripts. Just as schemata are embedded in a network, so too are social norms, and they can be primed through spreading activation. Moreover, the expectations that allow a social norm’s existence are inherently grounded in particular scripts and schemata. Using interventions that have targeted gender norms, open defecation, female genital cutting, and (...) other collective issues as examples, the authors argue that ignoring the cognitive underpinnings of a social norm can hamper the effectiveness of behavioral interventions. (shrink)

This article proposes a more culturalist and variegated conception of the individual than that presented by individualization theorists. Inspired by the approach of the individual advocated by Émile Durkheim, Talcott Parsons and John Meyers, it first outlines the general script of the individual-as-actor that informs modern individualism as well as the generic characteristics that are routinely attributed to persons such as agency and free will. It subsequently reconstructs three predominant interpretations of this general script, i.e. utilitarian, moral and expressive individualism. (...) For each variant, the intellectual genesis and overall definition of the institutionalization in specific societal domains and the dominant articulations in social theory are briefly presented. With this threefold distinction, the aim is to synthesize the extensive literature on individualism and to show the sociological strengths of approaching subjectivity in terms of institutionalized scripts. (shrink)