Ten Famous Composers of the Romantic Era and their Cause of Death

The musical composers in the Romantic Era (1800-1910) strived for compositions that expressed human life, including happiness, harmony and despair. They lived in a period in which freedom of thinking, expression of emotion and inspiration by nature predominate. During this period, intensive trading with other parts of the world brought new microorganisms along, which made infections and epidemics very common. This article serves to address the cause of death and relevant biographic data of a number of well- known Romantic composers. Primarily, this review refers to clinically significant findings using reports that were retrieved from Pubmed, Embase and Google over the 19th, 20th and 21st century till 14th June 2021. Here, this text dwells on diseases and the cause of death of ten composers, namely Mozart, Beethoven, Chopin, Schubert, Schumann, Mendelssohn, Brahms, Liszt, Mahler and Bruckner. It is evident that, in the sight of modern medicine, symptoms and forensic facts are not complete, but witnesses' reports and recent medical research have provided passable and plausible clarity. Although many questions will remain unanswered, it appears that the diseases of these composers and their causes of death have their origins in alcohol abuses, age, epidemics (like tuberculosis) and syphilis.

EFEKAT FACIJALNE EKSPRESIJE EMOCIJA, TIPA I NIVOA MOĆI NA ZAKLJUČIVANJE O DOMINANTNOSTI OPAŽENE OSOBE

Drawing inferences of the perceived dominance of individuals is an important process which helps to regulate social interaction. Existing research indicates that inferences of the dominance of social actors can be drawn based on various social cues, including facial expression of emotion. While perceived anger usually leads to an inference of high, and perceived sadness of low dominance, perceived happiness does not create such unambiguous impressions. To achieve a clearer image, the bases and level of perceived power, specifically reward power and expertise power, were taken into consideration, both of which could be either high or low. The study included 100 participants (women = 71), first and second year psychology students. The within subject 3x2x2 design was used with Expression (happiness vs. anger vs. sadness) x Bases of power (reward power vs. expert power) x Level of power (high vs. low). Dominance was a dependent variable operationalized through the semantic differential scale. The stimuli were photographs of faces, controlled for gender and age, which displayed the aforementioned facial expressions. In the case of reward power, a significant expressed emotion x level of power interaction emerged. In the case of expert power, there was only signifficant main effect of facial expression on dominance perception. The findings were analyzed according to the various expectations of the participants, formed during the process of socialization. It could be concluded that for more insight into the mechanism which lies at the core of the effect that facial expression of emotions has on perceived dominance, the profession of the perceived individual also needs to be taken into consideration. Key words: facial expression, bases of power, level of power, dominance

Emotions, intentions and their expressions: Anscombe on Wittgenstein’s stalking cat

In this paper, I explore the difference between expression of intention and expression of emotion through a discussion of a passage from G.E.M. Anscombe’s Intention, where she claims that expression of intention, unlike expression of emotion, is “purely conventional”. I argue that this claim is grounded on the fact that, although emotions can be described, expressions of emotion are not descriptions at all (e.g. of some present feeling or experience). Similarly, expressions of intention are not descriptions of a present state of mind but are rather the expression of a special sort of foreknowledge of a purported action. They are, in this respect, distinct from expression of emotion, since they are a description of some future happening (the purported action). Now, the centrally descriptive character of expressions of intention is what makes them “purely conventional”. But of course, Anscombe argues, one can have an intention without expressing it. And having an intention does not amount to having some description in mind.

SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE

English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions. Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।

Visual Expression of Emotion in Dynamic 3D Painting System Based on Emotion Synthesis Model

Emotion is a unique ability possessed by human beings as advanced creatures. Emotions give people a unique physical and mental experience. Assigning emotions to computer systems is one of the latest topics in artificial intelligence research. The purpose is to allow machines to achieve natural coordination between humans and computers. This article focuses on the visual expression of emotion in the dynamic three-dimensional painting system, creating an intelligent painting system and realizing a good user experience. In this paper, the discrete method is used to qualitatively analyze emotions, and the continuous method is used to quantify basic emotions, and emotional modeling and emotional quantitative analysis are proposed to realize quantitative analysis of emotions. Combining these two methods, a comprehensive method is proposed, which uses a continuous method to quantify the basic emotions of each discrete dimension, and finally superimposes them into a comprehensive emotional synthesis model. Emotion modeling is the basis of emotion visualization. Borrowing the relationship between emotion synthesis model and visual emotion elements, this article puts forward the concept of qualitative and quantitative visual emotion elements, and expounds that the multidimensional superposition of visual emotion elements makes dynamic three-dimensional painting system emotions. The experimental results in this article show that the emotional visualization scheme of 100 samples is tested by quantitative statistical methods to demonstrate its effectiveness. Starting from 5 points of concern, the emotion visualization method discussed in this article can indeed convey or suggest a certain positive emotion (the average value of experience, transitivity, and infectiousness > 2.5, and the variance is close to 0), but we also found this recognition at the same time The degree is not high enough, and individual differences are large (mean value < 2.5, variance close to 1). This can indicate that different subjects have different feelings and evaluations of this emotional visualization. As long as the difference is within a reasonable range, this emotional visualization also has practical value, and has the ability to convey or suggest emotions.

The Association between Parent and Child-Report Measures of Alexithymia in Children with and without Developmental Language Disorder

Accurate measures of alexithymia, an inability to recognise and describe one’s own emotions, that are suitable for children are crucial for research into alexithymia’s development. However, previous research suggests that parent versus child reports of alexithymia do not correlate. Potentially, children may report on the awareness of their emotions, whereas parent-report measures may reflect children’s verbal expression of emotion, which may be confounded by children’s communicative abilities, especially in conditions such as Developmental Language Disorder (DLD). Given theoretical arguments that alexithymia may develop due to language impairments, further research into alexithymia in DLD is also needed. This project examined parent and child report measures of alexithymia in children with DLD (n = 106) and without DLD (n = 183), and their association to children’s communication skills. Parent and child reports were not significantly correlated in either group, and children with DLD had higher alexithymia scores on the parent-report measure only. Thus, parent and child measures of alexithymia likely reflect different constructs. Pragmatic language problems related to more parent-reported alexithymia, over and above group membership. Structural language abilities were unrelated to alexithymia. We suggest decreased social learning opportunities, rather than a language measure artefact, underlie increased alexithymic difficulties in DLD.

Integrating Cultural Expression with Universal Emotions: How Cultural Differences in Expression Do Not Refute the Universal Hypothesis

The universal hypothesis of emotions argues that due to the functionality that emotions and their behavioural components provide, they show similar patterns across all cultures. Though there is substantive evidence supporting this theory, there are several cases were emotional expression does differ between cultures. This paper argues that such differences in expression are not necessarily evidence against the universal hypothesis as they are not due to innate biological differences in the emotional experience. Instead, differences in expression are the result of culture-specific learning and act to modify the expression of emotion to meet social norms. Since differences in expression are not innate, individuals are capable of experiencing emotions in an evolutionary adaptive way, regardless of culture. This has implications for better understanding individuals across cultures and why some individuals may act differently than others, despite having a similar emotional experience.