scholarly journals The Sound of Phantasia in Motion: Musical Imagination from Aristotle to Zarlino

2015 ◽  
Vol 15 (1) ◽  
pp. 19
Author(s):  
Giuseppe Gerbino
Keyword(s):  
Sixteenth Century ◽  
Vantage Point ◽  
Mental Process ◽  
Inner Life ◽  
Musical Practice ◽  
The Mind ◽  
The Relationship ◽  
Rare Opportunity ◽  
The Way ◽  
Musical Process

Ambiguously poised between composition and improvisation, works designated as fantasia in the sixteenth century thrived on the imaginative power of virtuoso performers. Or so the term would seem to suggest: it is not immediately clear in what sense this music should be understood and singled out as the product of the imagination. Isn’t music, any kind of music, the product of the imagination? What idea of imagination was this particular kind of music meant to represent? Drawing on the Aristotelian doctrine of the internal senses, this essay explores the relationship between fantasia as a musical process and sixteenth-century notions of fantasia as a mental process. From our vantage point in history, fantasia offers a rare opportunity to observe a cultural and musical practice aimed at translating the workings of the mind into a sensible object, which the perceiving subject can then (re)experience as a representation of his own inner life, in the way he himself imagines it. 

Situated approaches to musical experience

2019 ◽  
pp. 11-33
Author(s):  
Christoph Seibert
Keyword(s):  
Cognitive Science ◽  
Research Tool ◽  
Musical Experience ◽  
Musical Practice ◽  
Conceptual Clarity ◽  
Musical Practices ◽  
The Mind ◽  
The Relationship ◽  
Theoretical Considerations ◽  
Systematic Framework

Informed by a review of recent attempts in cognitive science to overcome head-bound conceptions of the mind, this chapter investigates the contribution of ‘situated’ approaches to understanding music and consciousness, focusing on musical experience. It develops a systematic framework for discriminating between situated approaches, and based on this framework and an analysis of specific scenarios discusses the ways in which musical experience may be conceptualized as ‘situated’, elucidating the implications and explanatory potential of different approaches. Finally, there is a consideration of the framework’s value as a research tool for the analysis of situated aspects of musical practices. The aim is to advance an understanding of music and consciousness by contributing to conceptual clarity and by enriching the relationship between theoretical considerations and observation of musical practice.

Placa of the mind: a study of place imagery in Muriel Spark's novels

1982 ◽  
Vol 3 (1) ◽  
pp. 165
Author(s):  
Suely Maria De Paula e Silva Lobo
Keyword(s):  
Undergraduate Students ◽  
English Novel ◽  
Multiple Devices ◽  
The Mind ◽  
The Relationship ◽  
The Way

This dissertation is addressed to undergraduate students of the modern English novel. It presents a study of the relationship space/character in Muriel Spark's novels Robinson (1958) and The Mandelbaum Gate (1965). The analysis of this relationship shows to what extent geographical places are representative of the characters' inner spaces. It dwells on the several ways this relationship is effected and on their adequacy as an important element of characterportrayal. The analysis likewise stresses the multiple devices used by the writer to build up a sort of narrative which, at the same time, provides factual inferration and encourages analysis at the symbolic level. It also demonstrates how the two levels run parallel to each other and the way the literal underprops the symbolic.

Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson

1994 ◽  
Vol 13 ◽  
pp. 65-84 ◽  
Author(s):  
Jeanice Brooks
Keyword(s):  
Sixteenth Century ◽  
Musical Instruments ◽  
Musical Settings ◽  
The Relationship ◽  
The Way ◽  
Poetry And Music

Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towards music and in demonstrating ways in which the relationship between text and music could be conceptualised in the sixteenth century. They are frustratingly vague, however, about how the poets' ideals should be achieved, and they leave many practical questions unanswered. Did poets have any influence on composers' choices of texts? Did movements in poetic circles ever affect the pitches or rhythms of musical settings – that is, could poets influence the way music sounded?

scholarly journals DA RELAÇÃO CORPO-ALMA À MENTE-CÉREBRO: A ANTROPOLOGIA CRISTÃ E AS NOVAS ANTROPOLOGIAS

2014 ◽  
Vol 46 (129) ◽  
pp. 215
Author(s):  
Renato Alves De Oliveira
Keyword(s):  
Christian Anthropology ◽  
Mind And Brain ◽  
The Mind ◽  
The Relationship ◽  
The Brain ◽  
The Way

O objetivo deste artigo é mostrar que a questão referente aos dois princípios metafísicos constitutivos da antropologia cristã, o corpo/matéria e a alma/espírito, e a forma de conceber a relação entre eles encontra-se presentes no subsolo das novas antropologias materialistas, mas com um novo verniz através da relação entre a mente e o cérebro. Para a antropologia cristã, a existência do binômio corpo-alma é uma questão resolvida. As discussões se concentram na forma de conceber a relação entre ambos os princípios. Analogamente, para algumas antropologias materialistas atuais, a existência da mente e do cérebro é uma questão fechada. Os confrontos encontram-se na forma de conceber as relações entre a mente e o cérebro: há uma identificação ou distinção entres ambas as realidades? A mente seria uma qualidade emergente do cérebro? ABSTRACT: The purpose of this article is to show that the question concerning the two constituent metaphysical principles of Christian anthropology, body/matter and soul/spirit, and the way of conceiving the relationship between them is presente in the basement of the new materialist anthropologies, but with a new varnish through the relationship between mind and brain. For Christian anthropology, the existence of the binomial soul/body is a settled issue. The discussions focus on how to design the relationship between the two principles. Similarly, for some current materialistic anthropologies, the existence of the mind and the brain is a closed question. The clashes are the way of conceiving the relationship between mind and brain: Is there an identification or a distinction between the two realities? Would be the mind an emergent quality of the brain?

Postcards from the mind

Gesture ◽  
2007 ◽  
Vol 7 (1) ◽  
pp. 21-38 ◽  
Author(s):  
Jan Peter de Ruiter
Keyword(s):  
Speech Production ◽  
Central Component ◽  
Interprocess Communication ◽  
Language Structure ◽  
Single Process ◽  
The Creation ◽  
Processing Architectures ◽  
The Mind ◽  
The Relationship ◽  
The Way

In this paper, I compare three different assumptions about the relationship between speech, thought and gesture. These assumptions have profound consequences for theories about the representations and processing involved in gesture and speech production. I associate these assumptions with three simplified processing architectures. In the Window Architecture, gesture provides us with a ‘window into the mind’. In the Language Architecture, properties of language have an influence on gesture. In the Postcard Architecture, gesture and speech are planned by a single process to become one multimodal message. The popular Window Architecture is based on the assumption that gestures come, as it were, straight out of the mind. I argue that during the creation of overt imagistic gestures, many processes, especially those related to (a) recipient design, and (b) effects of language structure, cause an observable gesture to be very different from the original thought that it expresses. The Language Architecture and the Postcard Architecture differ from the Window Architecture in that they both incorporate a central component which plans gesture and speech together, however they differ from each other in the way they align gesture and speech. The Postcard Architecture assumes that the process creating a multimodal message involving both gesture and speech has access to the concepts that are available in speech, while the Language Architecture relies on interprocess communication to resolve potential conflicts between the content of gesture and speech.

scholarly journals Autopoetic sculpting of Stevan Raičković: Poetic self-consciousness in the poem cycle 'Razgovor sa ilovačom' and the poem 'Iz mraka te, pesmo, zovem, iz ničega'

2021 ◽  
Vol 51 (2) ◽  
pp. 37-54
Author(s):  
Jelena Marinkov
Keyword(s):  
Self Awareness ◽  
Inner Life ◽  
Visual Imagination ◽  
Poetic Text ◽  
Lyrical Subject ◽  
Power Of Language ◽  
The Relationship ◽  
The Ideal ◽  
Poetry Collection ◽  
The Way

In this paper, we have analyzed the manifestations of poetic self-consciousness in the poetry of Stevan Raičković in the poem cycle Razgovor sa ilovačom and in the poem from the poetry collection Verses, Iz mraka te, pesmo, zovem, iz ničega. By semantically shaping the motif of the loam, the poetic complementarity between the poem and the cycle was established-the ideal of the poem as sculpture and the meta-lyrical reflection of the poet, evoked by observing the transformation of his own character into a bust. The poem Iz mraka te, pesmo, zovem, iz ničega evokes a symbolic attempt to sculpt the poem, based on visual imagination. Explicit autopoiesis is manifested in this poem-the poetic self-consciousness tries to view the poetic text as a matter that can be manually shaped, and in the end reaches a conclusion about the incompatibility of the means of expression and the assumed result. In the cycle Razgovor sa ilovačom, the means by which the poem is supposed to be materialized also appears to be incompatible with poetic contents, and lyrical subject expresses doubts about the constitutive power of language. The discrepancy between the stativity of the sculpture and the dynamism of the inner life, however, causes a return to words. Self-referentiality in the cycle Razgovor sa ilovačom indicates the implicit autopoiesis manifested in the treatment of the relationship between life and art and the problematization of equivalence between nature and poetry: because the poet tries to fix phenomena from life in the poem, just like the sculptor, he moves away from the dynamism of life. Interpreting the way in which the motif of the loam is shaped in relation to the theme of poetry, demonstrates the development of poetic self-awareness and doubts about the possibility of writing an authentic poem.

scholarly journals Effects of Restorative Environments on Creativity in Case of Architecture Education

2019 ◽  
pp. 156-161
Author(s):  
Beste Sabir
Keyword(s):  
Architectural Education ◽  
Complex Nature ◽  
Mental Process ◽  
Architecture Education ◽  
Restorative Environments ◽  
Multidimensional Construct ◽  
Supportive Environment ◽  
The Mind ◽  
The Relationship ◽  
Process Product

Creativity is a mental process, as Andreasen (2006) describes, it happens when a thought comes up to surface in the mind, it has a complex nature and it does not happen in a tabula rasa condition, instead interaction of human thoughts with socio-cultural situations creates this phenomenon, as Portillo (1996) defines the creativity as an interconnected and multidimensional construct involving person, process, product and place (environment/ press). One of the main intentions of this paper is to address the relationship between the creativity and its supportive environment in case of architectural education which can be defined as a design study that get its origins from creativity.

How the Persian Qalam Caused the Chinese Brush to Break: The Bahram Mirza Album Revisited

2020 ◽  
Vol 37 (1) ◽  
pp. 63-109
Author(s):  
Friederike Weis
Keyword(s):  
Sixteenth Century ◽  
Primary Sources ◽  
Chinese Art ◽  
The Mind ◽  
The Relationship

Abstract This essay addresses the significance and status of Chinese art in sixteenth-century Iran through the lens of Safavid scholars, painters, and album compilers, as well as their patrons. It focuses on the album that Dust Muhammad compiled for Bahram Mirza, completed in 1544/45 and largely preserved in its original arrangement. A close examination of the relationship between the Chinese and Persianate paintings in this album—and comparisons with other paintings and drawings—demonstrates the ways in which Chinese artworks were perceived, adopted, and self-consciously adapted during Shah Tahmasp’s reign (r. 1524–76). Furthermore, my analysis of Dust Muhammad’s preface to the Barham Mirza Album and other important contemporary primary sources, such as the poem Āyīn-i Iskandarī (The Rules of Iskandar, 1543/44) by ʿAbdi Beg of Shiraz, reveals an early Safavid reluctance to embrace optical naturalism, which was strongly associated with the Chinese aesthetic. This analysis also elucidates the growing sense of a distinct pictorial style in Safavid Iran, which was thought to derive from an inner vision situated in the mind or heart of the painter. The mimetic abstraction of this Safavid-Shiʿi aesthetic, initially connected to Imam ʿAli, was considered superior to the optical naturalism of the Chinese aesthetic.

The Type of Temperament, Mood, and Strategies of Categorization

2012 ◽  
Vol 33 (4) ◽  
pp. 227-236 ◽  
Author(s):  
Agata Wytykowska
Keyword(s):  
Information Processing ◽  
Negative Mood ◽  
Cognitive Activity ◽  
Processing Capacity ◽  
Affective Value ◽  
The Relationship ◽  
The Way

In Strelau’s theory of temperament (RTT), there are four types of temperament, differentiated according to low vs. high stimulation processing capacity and to the level of their internal harmonization. The type of temperament is considered harmonized when the constellation of all temperamental traits is internally matched to the need for stimulation, which is related to effectiveness of stimulation processing. In nonharmonized temperamental structure, an internal mismatch is observed which is linked to ineffectiveness of stimulation processing. The three studies presented here investigated the relationship between temperamental structures and the strategies of categorization. Results revealed that subjects with harmonized structures efficiently control the level of stimulation stemming from the cognitive activity, independent of the affective value of situation. The pattern of results attained for subjects with nonharmonized structures was more ambiguous: They were as good as subjects with harmonized structures at adjusting the way of information processing to their stimulation processing capacities, but they also proved to be more responsive to the affective character of stimulation (positive or negative mood).

Understanding prescription in language. A corpus-based approach

2019 ◽  
Vol 41 (2) ◽  
pp. 67-81
Author(s):  
Douglas A. Kibbee ◽  
Alan Craig
Keyword(s):  
Social Context ◽  
French Tradition ◽  
Linguistic Behavior ◽  
The Relationship ◽  
The Way

We define prescription as any intervention in the way another person speaks. Long excluded from linguistics as unscientific, prescription is in fact a natural part of linguistic behavior. We seek to understand the logic and method of prescriptivism through the study of usage manuals: their authors, sources and audience; their social context; the categories of “errors” targeted; the justification for correction; the phrasing of prescription; the relationship between demonstrated usage and the usage prescribed; the effect of the prescription. Our corpus is a collection of about 30 usage manuals in the French tradition. Eventually we hope to create a database permitting easy comparison of these features.

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