Ishii, H. (2020). <i>Consumer Sensory Perception and Evaluation: </i><i>The Science of “Just Because” in Buying Behavior.</i> Tokyo: Chikura Shobo. (In Japanese)

Up to now, organizational buying is still interesting topic discussed. There are divergences among the findings in organizational buying researches. Different perspectives, fenomena observed, research domains and methods caused the divergences. This paper will discusse organizational buying behavior based on literature review, focused on behavior of decision making unit mainly on equipment buying. From this review literatures, it would be theoritical foundation that is valid and reliable to develop propositions in organizational buying behavior. Based on review literature refferences, variables are classified into: purchase situation, member of decision making unit perception, conflict among the members, information search, influences among members of decision making unit. Integrated approach is used to develop propositions relating to: purchasing complexity, sharing responsibility among the members, conflict in decision making unit, information search, time pressure as moderating variable between sharing responsibility and conflict in decision making unit, the influence among the members inside decision making unit and decision making outcome

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Multisensory Modalities and Modernist Translation

CounterText ◽

10.3366/count.2016.0061 ◽

2016 ◽

Vol 2 (3) ◽

pp. 283-306

Author(s):

Tamara Brzostowska-Tereszkiewicz

Keyword(s):

Twentieth Century ◽

Reader Response ◽

Sensory Integration ◽

Cultural Anthropology ◽

Sensory Perception ◽

Cross Cultural ◽

Avant Garde ◽

Artistic Production ◽

High Modernism ◽

The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

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