26.1 FORMAL FEATURES OF TOUCHSCREEN APPS MAY INDUCE COMPULSIVE USE IN TODDLERS

2021 ◽  
Vol 60 (10) ◽  
pp. S297-S298
Author(s):  
Dimitri Christakis
Keyword(s):  
Compulsive Use ◽  
Formal Features

Interrelation of Architectural Concepts and Principles of Artificial Lighting in the Moscow Concert Hall Zaryadye

2019 ◽  
pp. 4-13
Author(s):  
Maria M. Ilyevskaya
Keyword(s):  
Concert Hall ◽  
Distinctive Features ◽  
Artificial Lighting ◽  
Building Type ◽  
Concert Halls ◽  
Architectural Language ◽  
The Creation ◽  
Architectural Planning ◽  
The Individual ◽  
Formal Features

The article is focused on the analysis of the Zaryadye Concert Hall building in Moscow in terms of the significance of artificial lighting for the creation of the imagery and perception of this facility within the typology of entertainment music-oriented buildings. Through the example of modern places of entertainment, the author reveals a number of formal features (typological attributes), which, being common to buildings of this function, constitute the basis of their image and become obvious due to the realized lighting concept. The interpretation of these attributes in the interaction of architectural planning and lighting concepts in the Zaryadye Concert Hall is traced. In conclusion, the distinctive features of the building under consideration are determined. At the same time, they reflect a new understanding of concert halls as a building type, the changes related to the overall development of architecture, as well as the elements of the individual architectural language.

Textual Events

2018 ◽  
Keyword(s):  
Cultural Norms ◽  
Homeric Hymns ◽  
The World ◽  
Real Performance ◽  
Textual Traditions ◽  
The Aesthetic ◽  
The Relationship ◽  
Ritual Practices ◽  
Formal Features

Recent decades have seen a major expansion in our understanding of how early Greek lyric functioned in its social, political, and ritual contexts. The fundamental role song played in the day-to-day lives of communities, groups, and individuals has been the object of intense study. This volume places its focus elsewhere, and attempts to illuminate poetic effects that cannot be captured in functional terms. Employing a range of interpretative methods, it explores the idea of lyric performances as textual events. Several chapters investigate the pragmatic relationship between real performance contexts and imaginative settings. Others consider how lyric poems position themselves in relation to earlier texts and textual traditions, or discuss the distinctive encounters lyric poems create between listeners, authors, and performers. In addition to studies that analyse individual lyric texts and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship between the poems’ formal features and their historical contexts. Lyric poems are a type of sociopolitical discourse, but they are also objects of attention in themselves. They enable reflection on social and ritual practices as much as they are embedded within them. As well as enacting cultural norms, lyric challenges listeners to think about and experience the world afresh.

scholarly journals Decolonization and the aesthetics of disorder: Naipaul, Evaristo, Boland

2021 ◽  
pp. 002198942199605
Author(s):  
Matthew Whittle
Keyword(s):  
European History ◽  
Resistance Movements ◽  
Eavan Boland ◽  
History Of ◽  
Paul Gilroy ◽  
Orderly Transition ◽  
The Moment ◽  
Bear Witness ◽  
Formal Features

Decolonization is presented in dominant accounts as an orderly transition and not the culmination of anticolonial resistance movements. This in turn contributes to what Paul Gilroy terms an endemic “post-imperial melancholia” across contemporary European nations and the removal of empire and its demise from understandings of European history. Drawing on Bill Schwarz’s reconceptualization of a Fanonian commitment to disorder, this article focuses on Britain’s history of colonialism and post-imperial immigration and argues for the mapping of a disorderly aesthetics in works by V. S. Naipaul, Bernardine Evaristo, and Eavan Boland. The three formal features of non-linearity, polyvocality, and environmental imagery enable these writers to bear witness to the complex histories of empire, transatlantic slavery, decolonization, and immigration from the colonial “margins”. These “aesthetics of disorder” counter a dominant narrative of decolonial order and challenge conceptions of British exceptionalism that were reinforced at the moment of imperial decline.

“The fair draught of Óðinn”

2021 ◽  
Vol 51 (1) ◽  
pp. 102-116
Author(s):  
Margrét Eggertsdóttir
Keyword(s):  
Classical Myths ◽  
Metrical Complexity ◽  
Formal Features

Abstract Icelandic poets in the 16th and 17th century had great interest in formal features such as rhyme, kennings, and periphrasis. Rímur poets made use of Eddic diction and imagery but the use of kennings was not limited to rímur; it can also be found in other kinds of poetry. Baroque delight in periphrasis and metrical complexity ensured a favorable reception for the renewed interest in dróttkvætt measure, with its aurally intriguing rhymes and complex kennings. The paper discusses the use of kennings and the connection between kennings, riddles and metaphors and also between kennings and Eddic and classical myths.

A comparative analysis of “Hutsulka” in the performing interpretations by two violinists representing the tradition of the Kosmach-Brusturiv areal

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 142-177
Author(s):  
Jarema Pavliv ◽  
Keyword(s):  
Comparative Analysis ◽  
Large Scale ◽  
Mobile Elements ◽  
Strategic Performance ◽  
Distinctive Features ◽  
Eastern Carpathians ◽  
Linear Movement ◽  
Melodic Line ◽  
Individual Interpretation ◽  
Formal Features

In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.

Dream science 2000: A response to commentaries on Dreaming and the brain

2000 ◽  
Vol 23 (6) ◽  
pp. 1019-1035 ◽  
Author(s):  
J. Allan Hobson ◽  
Edward F. Pace-Schott ◽  
Robert Stickgold
Keyword(s):  
Learning And Memory ◽  
Emerging Technologies ◽  
Mental Activity ◽  
Control Mechanisms ◽  
Dream Research ◽  
The Brain ◽  
Formal Features

Definitions of dreaming are not required to map formal features of mental activity onto brain measures. While dreaming occurs during all stages of sleep, intense dreaming is largely confined to REM. Forebrain structures and many neurotransmitters can contribute to sleep and dreaming without negating brainstem and aminergic-cholinergic control mechanisms. Reductionism is essential to science and AIM has considerable heuristic value. Recent findings support sleep's role in learning and memory. Emerging technologies may address long-standing issues in sleep and dream research.

scholarly journals Manifester og offentligheder: En afsøgning af moderniteten

2009 ◽  
Vol 37 (107) ◽  
pp. 12-51
Author(s):  
Janet Lyon
Keyword(s):  
Public Culture ◽  
Present Moment ◽  
Political Identities ◽  
Public Spheres ◽  
Economic Developments ◽  
Discursive Field ◽  
Formal Features

Manifestoes and Public Spheres: Probing Modernity:In this article Janet Lyon shows that the manifesto form is both a liberatory genre that narrates in no uncertain terms the incongruous experience of modernity of those whose needs have been ignored or excluded in a putatively democratic public culture, as well as a genre of rigid binaries creating audiences through a rhetoric of exclusivity, parceling out political identities across a polarized discursive field. Through readings of the tracts of the Diggers and Levellers of 1650 and the 1992 Dyke Manifesto, Lyon argues that when the conditions emerged for a possibility of an ideology of a universal subject with universal rights and sensibilities – that is, when political and economic developments in post-Enlightenment Europe generated the modern concepts of equality and rational autonomy – the manifesto arose as a public genre for contesting or recalibrating the assumptions underlying this newly ‘universal’ subject. In this influential instantiation, the manifesto is the form that exposes the broken promises of modernity: If modern democratic forms claim to honor the sovereignty of universal political subjecthood, the manifesto is a testimony to the partiality of that claim. The discussion isolates and explores some of the consistent formal features of the manifesto – its selective and impassioned chronicle of the oppression that has led to the present moment of rupture; its forceful enumeration of grievances; its epigrammatic style  – and then shows how the repetition of these structures and locutions across myriad political epochs attests to the form’s capacity to serve as a multiaccentural ideological sign, one that can be evoked in any number of struggles, on any number of sides.

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