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Books on the topic 'Expressive and stylistic potential'
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1
Panteleev, Andrey, and Anastasija Inos. The Language of Advertising: Graphic, Grammar and Pragmatic Aspects. Publishing Center RIOR, 2021. http://dx.doi.org/10.29039/02043-2.
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This monograph deals with the problem of functioning peculiarities of graphic expressive means and grammar means in the language of modern Russian advertising. This research work treats the advertising discourse as a composite indirect speech act. Active use of adverbial modifiers of manner — deverbatives, elliptical and indefinite personal one-member sentences is characteristic of modern advertising texts. A most distinguishing feature of a modern advertising text is a mixture of Cyrillic and Latin fonts that contributes to the manifestation of an expressive potential of the application. 
 The monograph is aimed at students of Philology, students major in Management and Marketing, masters, postgraduates, staff of higher educational establishments and all those who are interested in the Russian language.
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Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.
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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style modes” orienting stylistic treatment in musical numbers. Second, glamour is shown to blend four distinct aesthetic parameters: sensuousness, restraint, elevation, and sophistication. Instead of being interpreted in relation to film narrative, the musical number is treated as a semiautonomous locus of meaning and expression, with its own formal demands and the power to eclipse narrative logic. Dozens of musical numbers are analyzed, drawn from more than eighty films, exploring glamour from the perspectives of arranging and orchestrational technique, the fantasies awoken in the spectator, and the invocation of magical belief. Anticonsumerist critiques of glamour are evaluated alongside counterarguments upholding glamour’s transformative and sustaining potential. Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.”
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The art and craft of conducting: Realising expressive potential through physical gestures in selected works for the wind orchestra. Cambria Press, 2008.
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Empowering adolescents to realize their potential: A resource of innovative activities for engaging the "I don't know", "I don't care" adolescent through expressive arts and play. D. Budd], 2007.
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Decoeur, Henri. The Potential Role of International Criminal Tribunals in the Suppression of State Organized Crime. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823933.003.0009.
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Chapter 8 outlines the potential merits and challenges of prosecuting individuals suspected of being involved in state organized crime before international criminal courts and tribunals. It identifies potential advantages common to international criminal courts and tribunals, namely the unavailability of jurisdictional immunities as a procedural bar, the greater likelihood of a genuine investigation, the existence of formal rules to deal with concurrent claims of jurisdiction, the capacity to address complex cases of system criminality, and the expressive potential of international criminal courts and tribunals. It then considers the respective advantages and disadvantages of different institutional mechanisms that could be used or adapted for the prosecution of state organized crime, examining in turn the International Criminal Court, ad hoc tribunals, and the future criminal chamber of the African Court of Justice and Human Rights.
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Heinämaa, Sara. Embodiment and Bodily Becoming. Edited by Dan Zahavi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198755340.013.32.
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The chapter clarifies Husserl’s phenomenological approach to embodiment by explicating his analytical concepts and his transcendental arguments concerning the constitution of living bodiliness (Leiblichkeit). The chapter argues that Husserlian phenomenology does not establish any simple opposition between naturalistic and phenomenological inquiries but instead offers a comprehensive account of the many senses of the body operative in human practices, including the practices of the sciences. The human body is given, not just as a material thing, but also as an instrument, as an agent, and an expressive stylistic whole. The second part of the chapter discusses recent applications of Husserlian philosophy of embodiment in the investigation of human plurality. By analyzing the exemplary phenomena of sexuality and sexual difference, the chapter demonstrates that the phenomenological concepts of style and stylistic unity can serve investigations into the diversity of human embodiment in its many forms.
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Saylor, Eric. What Is Pastoralism? University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0002.
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This chapter establishes a framework for understanding pastoralism from both expressive and stylistic perspectives. The first half of the chapter draws upon the work of various literary critics (including Paul Alpers, Terry Gifford, and Annabel Patterson) in order to establish three broad thematic or topical categories for pastoral artworks: Arcadian, soft, and hard. The remainder of the chapter examines pastoralism in terms of its style, providing an overview of both the musical traits associated with it and the major critical and interpretive issues they raise—most notably, concerns with pastoralism’s perceived engagement with the feminine.
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Kresky, Jeffrey. A Reader's Guide to the Chopin Preludes. Greenwood, 1994. http://dx.doi.org/10.5040/9798216005162.
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In Chopin's set of 24 interconnectedPreludes (Op. 28), we are presented with 24 distinct compositional surfaces, aiming at as many distinguishable emotional expressions. As such, the Preludes stand as a virtual survey of the developing musical manners of the 19th century--which was, after all, the stylistic period in which mood was promoted most energetically and frankly. Under analytic investigation, the technical means to these varied expressive ends can be discovered and assessed. 24 separate explorations reveal themselves to the inquiring musician, who can investigate any or as many of the pieces as is wished or needed. At the same time, the Preludes form a fairly compelling total entity, related by precise balances of mood and key, as well as certain subtler interconnecting details. The individual analyses aim at conjoined descriptive statements that take into account the various separable, but ultimately fused, musical elements: line and harmony in the pitch domain; rhythm in terms of local detail, but also at the levels of meter, phrase, and form; and the various expressive modifications of dynamics and articulation. Form is seen to grow out of the harnessed progress of these elements, which together determine expressive content.The Chopin Preludes, a centerpiece of 19th-century Romanticism, are unique: two dozen distinct moods that seem to summarize the musical manners of the time, they also function as an organic whole. This book is a detailed guide through thePreludes, both individually and as a group. The analyses assess technical and expressive means and ends.
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Scurr, Ruth. ‘The greatest irregular’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.003.0006.
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Thomas Carlyle claimed that his history of the French Revolution was ‘a wild savage book, itself a kind of French Revolution …’. This chapter considers his stylistic approaches to creating the illusion of immediacy: his presentation of seemingly unmediated fact through the transformation of memoir and other kinds of historical record into a compelling dramatic narrative. Closely examining the ways in which he worked biographical anecdote into the fabric of his text raises questions about Carlyle’s wider historical purposes. Pressing the question of what it means to think through style, or to distinguish expressive emotive writing from abstract understanding, is an opportunity to reconsider Carlyle’s relation to his predecessors and contemporaries writing on the Revolution in English.
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Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.
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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the informal, intuitive methods of conventional music theory and analysis, but it is also informed by corpus data. An important component of the theory is a representation of pitches—the “line of fifths”—that sheds light on issues such as stylistic distinctions within rock, effects of surprise, and emotion. The theory also entails a model of expression with three dimensions, representing valence, energy, and tension; this proves to be a powerful tool for tracing shifts in expressive effect within songs. The theory features novel approaches to issues such as cadences, melodic-harmonic coordination, the handling of sectional boundaries, and the classification of formal types. The final two chapters present analyses of six songs and a broader consideration of rock in its historical and stylistic context.
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Saylor, Eric. Afterword. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0007.
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The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed by a distinctive and highly adaptable array of stylistic traits. But in the wake of Finzi’s death in 1956 and Vaughan Williams’s only two years later, English pastoral music fell into relative obscurity. Composers who had written pastoral works in previous decades (including Howells, Ireland, and Bliss) had either largely turned away from the idiom or limited it to certain smaller-scale or niche contexts (such as church music, in Howells’s case). Meanwhile, the rise of both a prominent British avant-garde musical movement during the later 1950s and an extraordinarily vital pop music scene in the following decade made it difficult for the older, less demonstrative pastoral style to hold the public or critical imagination....
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Branham, R. Bracht. Inventing the Novel. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841265.001.0001.
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Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”
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Washburne, Christopher. Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.001.0001.
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Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the ethnographic present. Latin jazz is explored both as a specific subgenre of jazz and through the processes involved in its constructed “otherness.” Latin Jazz: The Other Jazz provides a revisionist perspective on jazz history by embracing and celebrating jazz’s rich global nature and heralding the significant and undeniable Caribbean and Latin American contributions to this beautiful expressive form. This study demonstrates how jazz expression reverberates entangled histories that encompass a tapestry of racial distinctions and blurred lines between geographical divides. This book acknowledges, pays tribute to, and celebrates the diversity of culture, experience, and perspectives that are foundational to jazz. Thus, the music’s legacy is shown to transcend far beyond stylistic distinction, national borders, and the imposition of the black/white racial divide that has only served to maintain the status quo and silence and erase the foundational contributions of innovators from the Caribbean and Latin America.
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Bonds, Mark Evan. The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.001.0001.
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The “Beethoven syndrome” is the inclination of listeners to hear music as the projection of a composer’s inner self. Beethoven’s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general—not just Beethoven—in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric, in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. Expression was thought of as an objective construct with a purpose. But through a confluence of musical, philosophical, social, and economic changes, the framework of rhetoric gave way to a framework of hermeneutics. Under the paradigm of expressive subjectivity, concert-goers no longer perceived composers as orators but as oracles to be deciphered. The aesthetics of “New Objectivity” around 1920 marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high-modernist aesthetic that dominated the century’s middle decades. Perceptions of compositional subjectivity have nevertheless endured in surprising ways, and we find ourselves today in an era of dual and often conflicting paradigms.
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Jolie, Edward A., and Laurie D. Webster. Perishable Technologies. Edited by Barbara Mills and Severin Fowles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199978427.013.34.
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The American Southwest is renowned for its excellent preservation of perishable organic artifacts in dry alcoves and cliff dwellings. This chapter discusses past research on and current trends in the study of perishable artifacts such as textiles, baskets, mats, footwear, and worked wood and hides from Southwest archaeological sites. Following a review of prior research, the chapter details the salient research objectives and outcomes of studies investigating the importance of perishable technologies. Prominent research themes include perishables in daily life, the potential for perishable artifact technological and stylistic variability to inform on social interaction, boundaries, and identities, and the role of perishables in ritual practice.
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Muecke, Stephen. Mother's Day Protest and Other Fictocritical Essays. Rowman & Littlefield International Ltd, 2016. https://doi.org/10.5040/9798881817299.
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As a genre that confounds the distinction between fiction and non-fiction, fictocriticism continues to gain currency. It solves a problem for researchers and writers who do not wish to be held to that somewhat artificial division, and who consider their research methods necessarily to include the stylistic experiments that show their research and thought processes. Research, knowledge of the world, that continues to be ‘written up’, ‘after the fact’ in the usual academic genres, has a tendency to re-inscribe the status quo. The world stays the way it is; change, surprise and experiment elude the writer. Stephen Muecke, one of the originators of fictocritical writing, presents a selection of his best essays in this innovative genre. In doing so he offers a rare and important theorization of the potential of speculative methods across disciplines including Literary Studies, Philosophy, Anthropology, Geography, and Science and Technology Studies.
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Jockers, Matthew L. Nationality. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0007.
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This chapter explores the potential influences or entailments of nationality on authorial style. Nations have distinct linguistic habits of style. For example, the British have the propensity to drop the word the in front of certain nouns for which American speakers and writers always deploy the article. This explains why the mean relative frequency of the word the is lower in British and Irish novels than in American novels. In this chapter, an analysis of a corpus of 3,346 nineteenth-century American and British novels reveals that British authors use the word the at a rate of 5 percent, compared to 6 percent for their American counterparts. Thus, the word the is a strong indicator of author nationality, at least when trying to differentiate between British and American texts. This chapter discusses the results of author nationality analyses, along with word usage analyses, for British, American, and Irish novels. It demonstrates what stylistic or linguistic feature analyses can provide in terms of separating writers by nationality.
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Brown, Ruth Nicole. More than Sass or Silence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037979.003.0006.
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This chapter presents a soundtrack of Black girls' expressive culture as ethnographically documented in SOLHOT in the form of original music. To think through the more dominant categorizations of how Black girls are heard, as both sassy and silent, this chapter samples Andrea Smith's (2006) “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” to offer a new frame called “The Creative Potential of Black Girlhood.” Music made from conversations in SOLHOT is used to emphasize how three logics of the creative potential framework, including volume/oppression, swagg/surveillance, and booty/capitalism, amplifies Black girls' critical thought to document the often overlooked creative process of Black girl music making, demonstrate how hip-hop feminist sensibilities inform girls' studies, and, most importantly, move those who do Black girl organizing toward a wider repertoire of actions and conversations that affirm differences among Black girls and differently sounding Black girl knowledge.
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Robertson, Ewan. Cloud Dialogue. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450573.
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Cloud Dialogue is a sculpture (approximate dimensions 7.5 x 11.5 x 2.6m ) which investigates the potentials of iron as a sculptural material. The work expands the expressive, associative and poetic potential of iron within the context of contemporary art. The work was conceived, made and installed by Ewan Robertson in collaboration with Scottish sculptor Gordon Munro. The research builds on the symbolism and the historical associations of iron, as a ubiquitous element of our lives. Through the creation of a large-scale sculpture and experimentation with techniques of fabrication, it challenges perceptions of iron as a utilitarian material. Cloud Dialogue has been made in several iterations, with different combinations of nodes and arms. Each form conjures different symbolic associations whilst responding to their different sites. As such, the research is also an extended experiment in site-specific installation.
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Smith, Matthew S., and Michael Ashley Stein. Mexico. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786627.003.0011.
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This chapter analyses how Mexico’s Supreme Court has applied the Convention on the Rights of Persons with Disabilities (CRPD) to decide cases involving persons with disabilities following its 2011 constitutional reform. Although the Court has c to develop instructive case law on incorporating the CRPD into the domestic legal order, it has frequently failed to do so in an even-handed manner. Even when the Court has sided with petitioners with disabilities, its application of the CRPD to the facts of the case has been erratic, both making it difficult to predict how the Court will adjudicate future claims and also hindering the CRPD’s transformative potential for changing how individuals, organisations and society at large act towards persons with disabilities through its expressive value. Civil society organisations that have advocated for progressive rulings have a responsibility for educating the Court to develop workable judicial tests for CRPD-based claims.
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Scott, E. Hitchcock. Creative Arts Therapies: An Integrative Modality for Addiction and Trauma Treatment. Edited by Shahla J. Modir and George E. Muñoz. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190275334.003.0023.
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This textbook subchapter examines how the creative arts therapies are an important modality for addiction treatment. A valid argument can be made regarding art as an essential tool for effective healing, based in part upon a comprehensive review of current research. Unfortunately, due to inadequately educated staff many addiction programs are mislabeling arts and crafts projects as “creative arts psychotherapy.” This subchapter seeks to address this misnomer as well as the remarkable healing potential of art therapy when facilitated by certified professionals. The benefits and challenges of art therapy will be addressed in a preliminary fashion by providing a definition, case study overview, examples of art, an example each of the journal writing and poetry produced, and a subjective description of the impact of the creative and expressive arts via the client’s perceptions. These will be followed by a Haiku that foreshadowed the client’s success with long-term sobriety after treatment.
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Altman, Joel. Ekphrasis. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.14.
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This chapter examines the use of ekphrasis in early modern theatre, with particular emphasis on its effect on the stage and the relationship of ekphrastic speech to the ongoing action in which it is enunciated. It maps the parameters of ekphrasis on the early modern English stage by considering a few examples of the ways in which ekphrasis instantiates early modern theatricality. It also discusses the expressive potential of ekphrastic speech and its transmission to the listener as well as the ironic uses of ekphrasis as a mode of persuasion, whether directed to oneself, an on-stage auditor, off-stage auditors, or all three. It argues that ekphrasis creates nothing less than what it calls ‘the psyche of the play’ and explains how the unusually flexible capacity of the staged word allows it to be used for a wide range of theatrical techniques, including the usual sense of ‘word-painting’. Finally, it looks at William Shakespeare’s deployment of ekphrasis in his work such asHamlet.
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Barzel, Tamar. “We Began from Silence”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0010.
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In the late 1970s, the Mexican ensemble Atrás del Cosmos, a pioneering free improvisation collective (1975–1983), held an eight-month residency at El Galeón, a city theater. Jazz and experimental theater were twin touchstones for the ensemble, which adapted ideas borrowed from Alejandro Jodorowsky, a Chilean expatriate known for his radical influence on the city’s 1960s theater scene, including the notion that theatrical performance should shatter social decorum and elicit liberating ways of being-in-the-world. For Atrás del Cosmos, art’s transformative potential also lay in articulating a personal voice in a collective context—a central tenet of jazz and African-American expressive culture. The ensemble’s multivalent genealogy, as well as its collaborations with US-based improvisers—notably trumpeter Don Cherry—bolster arguments for the transnational nature of twentieth-century “American” music. This chapter proposes Vijay Iyer’s notion of “embodied empathy” as a key to understanding the ensemble’s immediate social impact and its lasting historical significance.
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Dinter, Martin T., Charles Guérin, and Marcos Martinho dos Santos, eds. Reading Roman Declamation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.001.0001.
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Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. In so doing, it draws attention to the complexity of these texts, and maps out, for the first time, the sociocultural context for their composition, delivery, and reception. The volume’s chapters have been authored by an international group of leading scholars in Latin literature and rhetoric, and explore not only the historical roles of individual declaimers but also the physical and linguistic techniques upon which they collectively drew. In addition, the ‘dark side of declamation’ is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill. In keeping with the volume’s overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. This comprehensive, innovative, and up-to-date treatment provides thought-provoking analyses of Roman declamation, and therefore constitutes an essential volume for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.
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Brackett, Donald. Fleetwood Mac. Praeger, 2007. http://dx.doi.org/10.5040/9798400651854.
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Fleetwood Mac's distinctive sound, first really captured in the 1977 recordRumours, launched the group into the commercial stratosphere, and over the past three decades they have never looked back. All along the way their dysfunctional relationships have informed their professional success, as well as their personal downfalls. By writing and singing about their problems, Fleetwood Mac has transformed what breaks them apart into what keeps them together. They have turned their dark relationship dilemmas into glittering entertainment. In this highly entertaining chronicle, author Donald Brackett provides readers with a special opportunity to review the band's complicated history and reconsider the personal, dynamic sources of their classic albums and enduring hits. The band drummer Mick Fleetwood and bassist John McVie started in 1967 has gone through more personnel changes and stylistic innovations than any other pop group in our cultural history. The story of the group began when John Mayall and Alexis Korner, the band's mentors, launched a mid-'60s British blues revival. Ex-Mayall players Fleetwood and McVie then went on to form an incendiary band of psychedelic blues under the name Fleetwood Mac. But it was not until hearing a little-known 1973 record from Lindsey Buckingham and Stevie Nicks that Mick Fleetwood heard the future sound and true pop potential of his own group.
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Giovanelli, Marcello, and Chloe Harrison. Cognitive Grammar in Stylistics. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350355491.
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Providing an engaging, accessible and practically-focused introduction to cognitive grammar, this book demonstrates how central cognitive grammar principles can be used in stylistic analyses.Assuming no prior knowledge, it leads students through the basics of cognitive grammar, outlining its place within the field of cognitive linguistics as a whole, providing clear explanations of key principles and concepts, and explaining how these can be used to support the study of a range of literary and non-literary texts. Thoroughly updated throughout to encompass emerging trends in the field, this second edition features: - Increased exploration of a range of topics, including specificity and definiteness, scanning, perfective and imperfective verbs, action chains, and subjective and objective construal - A brand new chapter on extended projects in cognitive grammar - Additional activities, including on a wider range of literary texts - Further solutions to modelled answers - Updated examples, references, and further reading recommendations Presenting cognitive grammar as a powerful alternative to more traditional grammatical models to enable the analysis of texts, the book’s primary focus is on the practical application of cognitive grammar to examples of language in context and on its potential for specifically literary and non-literary material. It offers a clear and facilitating approach to allow students to describe language features carefully and to explore how these descriptions can be developed into full and rich analyses.
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Loporcaro, Laura. Reading Quintilian. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198911531.001.0001.
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Abstract This book takes Quintilian’s Institutio oratoria as a literary work, worth reading in full. It examines how didactic authority is created and readers are guided through the work thanks to a coherent overarching framework. This framework is composed of several leitmotifs: Quintilian’s creation of a trustworthy didactic persona, statements of didactic intent and method, the depiction of an ideal didactic constellation, remarks giving the sense that the work proceeds gradually and in parallel with the pupil’s training and the author’s life, polemics against other authorities, and ‘proleptic’ strategies deflecting responsibility for the potential lack of success of students following the advice given. The consistency of the framework indicates that the Institutio is not a mere accumulation of facts but an artfully crafted whole, as does the pervasive implementation of rhetorical strategies taught in it. The first chapter analyses how Quintilian introduces himself and his project at the start of the Institutio and outlines its structure. The following three chapters ground their analysis of the leitmotifs in the discussion of central themes: Quintilian’s reception of Cicero, his conception of the ideal orator, his polemic against what he presents as two currents of stylistic corruption, and his reception of Seneca the Younger. Together, the chapters aim to give a sense of the construction, goals, and models of the work and its positioning within a specific literary-cultural context. Combining a panoramic view with in-depth analysis of single leitmotifs and themes, Reading Quintilian hopes to shed new light on the Institutio as a whole.
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Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.
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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.
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Oulasvirta, Antti, Per Ola Kristensson, Xiaojun Bi, and Andrew Howes, eds. Computational Interaction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198799603.001.0001.
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This book presents computational interaction as an approach to explaining and enhancing the interaction between humans and information technology. Computational interaction applies abstraction, automation, and analysis to inform our understanding of the structure of interaction and also to inform the design of the software that drives new and exciting human-computer interfaces. The methods of computational interaction allow, for example, designers to identify user interfaces that are optimal against some objective criteria. They also allow software engineers to build interactive systems that adapt their behaviour to better suit individual capacities and preferences. Embedded in an iterative design process, computational interaction has the potential to complement human strengths and provide methods for generating inspiring and elegant designs. Computational interaction does not exclude the messy and complicated behaviour of humans, rather it embraces it by, for example, using models that are sensitive to uncertainty and that capture subtle variations between individual users. It also promotes the idea that there are many aspects of interaction that can be augmented by algorithms. This book introduces computational interaction design to the reader by exploring a wide range of computational interaction techniques, strategies and methods. It explains how techniques such as optimisation, economic modelling, machine learning, control theory, formal methods, cognitive models and statistical language processing can be used to model interaction and design more expressive, efficient and versatile interaction.
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Irvin, Sherri. Immaterial. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780199688210.001.0001.
Full textAbstract:
Contemporary art can seem chaotic: it may be made of toilet paper, or candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts or language. I argue, through many examples, that disparate developments in installation art, conceptual art, time-based media art, and participatory art can be understood in terms of custom rules. Many artists articulate custom rules governing artwork display, preservation of material elements, and interactivity or audience participation. Rules are established through the artist’s sanction: the creative act of designating the material elements and rules that constitute the work’s structure. Rules serve as medium: they are part of the work’s structure and help to constitute its meanings. Rules are meaningful in themselves, and they help to activate the expressive potential of material objects. Museum practice should include providing information about the rules; otherwise, audiences can’t fully appreciate the work. Contemporary art conservation involves preserving information: loss of information about the rules, like loss of a chunk of marble, can seriously damage the work. Rules are trickier to pin down than material objects and are subject to violation, so we’ll examine the effects on the work’s integrity and authenticity when things go wrong in various ways. Is the emergence of custom rules a positive development? Some artists have used rules to powerful effect. But rules aren’t always used well: bad art can take any form.
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Ord, Matthew. Sound Recording in Post-War British Folk. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9798765107454.
Full textAbstract:
Recording technologies shaped the sound and meaning of 20th-century folk music in Britain, constructing a sonic aesthetics of authenticity in an era of rapid technological and social transformation. The folk revival that changed the sound of 20th century British popular music was sustained by a varied and innovative recording culture. For many listeners, the sound of folk on record presented a ‘real’ sound in an age of studio artifice, asserting the value of face-to-face performance over technologically mediated consumption. At the same time, the folk movement benefitted from rapid advances in recording and media technology, encompassing a range of sonic practices including radio documentary, commercial studio production and field recording. Within the revival as a cultural movement, recordings and the act of recording itself reflected and shaped the meaning of the music for musicians and their audiences as they developed new aesthetic practices and explored the expressive potential of recorded sound. Sound Recording in Post-War British Folk traces how folk’s recording culture was shaped by beliefs about music, technology and society, becoming a key site for the articulation of aesthetic, cultural and political values. Ord brings together theoretical approaches from musicology, social semiotics and science and technology studies and draws upon interviews with musicians and producers to explore the place of recording in 20th-century folk and popular music and raise larger questions about the relationship between music, recording technologies and cultural-political movements.
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Kligler-Vilenchik, Neta, and Ioana Literat. Not Your Parents' Politics. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197795156.001.0001.
Full textAbstract:
Abstract Whether we like it or not, social media platforms have become a key space for youth political expression. Yet young people’s engagement with politics on social media looks and feels different from adult conceptions of political expression: it is creative, making inventive use of platform affordances; it is personal, shaped by young people’s experiences and identities; and it is meaningful to young people, as a space to exert their political voice. This book thus argues for the need to consider the potential value of social media, both as a space for young people to experiment with their political voice and as a window into the political and social concerns on their minds. Grounded in empirical research on three case studies of youth political expression (the US 2016 election, Black Lives Matter, and climate change) on musical.ly, Instagram, and YouTube, the book offers insights into the varied ways young people engage with political issues on the social media platforms most popular with youth audiences. On a theoretical level, the book offers a conceptual framework for analyzing how different platforms shape political expression through the interaction between their affordances, norms, and contents. This empirical and theoretically based investigation sets the stage for a normative discussion, asking how the forms of expressive citizenship identified throughout the book might bolster—or hinder—democratic engagement. Ultimately, the book considers what it means to take youth political expression on social media seriously, and what the stakes are for political socialization and democratic participation.
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Miron, Dan. Animal in the Synagogue. The Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781978729704.
Full textAbstract:
The Animal in the Synagogue explores Franz Kafka’s sense of being a Jew in the modern world and its literary and linguistic ramifications. It falls into two parts. The first is organized around the theme of Kafka’s complex and often self-derogatory understanding and assessment of his own Jewishness and of the place the modern Jew occupies in “the abyss of the world” (Martin Buber). That part is based on a close reading of Kafka’s correspondence with his Czech lover, Milena Jesenska, and on a meticulous analysis, thematic, stylistic, and structural, of Kafka’s only short story touching openly and directly upon Jewish social and ritual issues, and known as “In Our Synagogue” (the title—not by the author). In both the letters and the short story images of small animals—repulsive, dirty, or otherwise objectionable—are used by Kafka as means of exploring his own manhood and the Jewish tradition at large as he understood it. The second part of the book focuses on Kafka’s place within the complex of Jewish writing of his time in all its three linguistic forms: Hebrew writing (essentially Zionist), Yiddish writing (essentially nationalistic but not committed to Zionism), and the writing, like his, in non-Jewish languages (mainly German) and within the non-Jewish religious and artistic traditions which inhered in them. The essay deals in detail with Kafka’s responses to contemporary Jewish literatures, and his pessimistic evaluation of those literatures’ potential. Essentially, Kafka doubted the sheer possibility of a genuine and culturally tenable compromise (let alone synthesis) between Jewishness and modernity. The book deals with topics and some texts that the flourishing, ever expanding Kafka scholarship has either neglected or misunderstood because most scholars had no real background in either Hebrew or Yiddish studies, and were unable to grasp the nuances and subtle intentions in Kafka’s attitudes toward modern Hebrew and Yiddish literature and their paragons, such as the major Zionist Hebrew poet H.N. Bialik or the Yiddish master Sholem Aleichem.