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Books on the topic 'Expressiveness'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 May 2025

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1

Center, Dhaka Art, ed. Images of multilayered expressiveness: Solo painting exhibition. Dhaka: Dhaka Art Center, 2011.

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2

K, Zholkovskiĭ A., ed. Poetics of expressiveness: A theory and applications. Amsterdam: J. Benjamins Pub. Co., 1987.

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3

Oltețeanu, Ion. Understanding music theory: Meaning, self-conciousness, and emotional expressiveness. New York: Addelton Academic Publishers, 2010.

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4

Servomaa, Sonja. Beauty in the pine: Creative expressiveness of the pine in Japanese aesthetics. Helsinki: Yliopistopaino, Helsinki Univ. Press, 2007.

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5

Kiewisz, Tomasz Jacek. Emotional expressiveness, emotional ambivalence and emotional control and psychological and physical well-being. [s.l.]: typescript, 1995.

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6

Cabrera, Manuel Augusto Ossers. La expresividad en la cuentística de Juan Bosch: Análisis estilístico = Expressiveness in Juan Bosch's short stories : a stylistic analysis. Lewiston, N.Y: Edwin Mellen Press, 2010.

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7

Mark, Petersen, Ikegami Hiroshi, and Zheng Peilan, eds. Xin guan nian Ying wen fa: Zong he lian xi = Practice exercises based on the royal English grammar for practical expressiveness. Taibei Shi: Zhong wen tu shu gu fen you xian gong si, 2013.

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8

Utterback, Ann S. Vocal Expressiveness. Bonus Books, 1992.

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9

Fabian, Dorottya, Renee Timmers, and Emery Schubert, eds. Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.001.0001.

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10

Dainotti, Paolo. Word Order and Expressiveness in the Aeneid. De Gruyter, Inc., 2015.

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11

Shcheglov, Yuri. Poetics of Expressiveness: A Theory and Application. Benjamins Publishing Company, John, 1987.

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12

The expressiveness of perceptual experience: Physiognomy reconsidered. Amsterdam: John Benjamins Publishing Company, 2013.

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13

Tao, Song Chun. How to Improve Your Expressiveness (Chinese Edition). Peking University Press, 2012.

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14

Dainotti, Paolo, and Ailsa Campbell. Word Order and Expressiveness in the Aeneid. de Gruyter GmbH, Walter, 2015.

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15

(), Hailemichael Tekabe. Teachers' Nonverbal Communication Expressiveness: Facts and Perceptions. Independently Published, 2017.

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16

Dainotti, Paolo, and Ailsa Campbell. Word Order and Expressiveness in the Aeneid. de Gruyter GmbH, Walter, 2015.

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17

Asatryan, Nelli. Expressiveness in Blogs vs. Pen-Paper Writings. GRIN Verlag GmbH, 2014.

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18

Word Order and Expressiveness in the Aeneid. De Gruyter, Inc., 2015.

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19

Benenti, Marta. Expressiveness: Perception and Emotions in the Experience of Expressive Objects. de Gruyter GmbH, Walter, 2020.

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20

Benenti, Marta. Expressiveness: Perception and Emotions in the Experience of Expressive Objects. de Gruyter GmbH, Walter, 2020.

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21

Constantin, Gabriel Florin. Expressiveness and optimization under incentive compatibility constraints in dynamic auctions. 2009.

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22

Timmers, Renee, and Emery Schubert, eds. Expressiveness in Music Performance: Empirical approaches across styles and cultures. Oxford University Press, 2014.

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23

Barroso, Paulo M. Grammar, Expressiveness, and Inter-subjective Meanings: Wittgenstein's Philosophy of Psychology. Cambridge Scholars Publishing, 2015.

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24

Benenti, Marta. Expressiveness: Perception and Emotions in the Experience of Expressive Objects. de Gruyter GmbH, Walter, 2020.

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25

Expressiveness: Perception and Emotions in the Experience of Expressive Objects. de Gruyter GmbH, Walter, 2022.

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26

Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford University Press, Incorporated, 2014.

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27

State sacrifices and music in Ming China: Orthodoxy, creativity, and expressiveness. Albany: State University of New York Press, 1998.

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28

State Sacrifices And Music In Ming China Orthodoxy Creativity And Expressiveness. State University of New York Press, 1998.

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29

Ivanova, Iryna V. The role of emotional expressiveness and ambivalence over expression in romantic relationships. 2006.

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30

Beauty in the pine: Creative expressiveness of the pine in Japanese aesthetics. Helsinki: Yliopistopaino, Helsinki Univ. Press, 2007.

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31

Kuriyama, Shigehisa. Expressiveness of the Body and the Divergence of Greek and Chinese Medicine. Zone Books, 2023.

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32

Schnedlitz, Peter, and Sloan School of Management. Social Expressiveness of Products and Social Desirability As Mediating Variables in Fishbein's Model. Creative Media Partners, LLC, 2018.

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33

The expressiveness of the body and the divergence of Greek and Chinese medicine. New York: Zone Books, 1999.

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34

The Expressiveness of the Body and the Divergence of Greek and Chinese Medicine. Zone Books, 2002.

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35

Brennan, Geoffrey, and Alan Hamlin. Constitutions As Expressive Documents. Edited by Donald A. Wittman and Barry R. Weingast. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199548477.003.0018.

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This article looks at constitutions as expressive documents. Two concepts are the main focus of this article: the constitution and the notion of expressiveness. The article tries to clarify these concepts by appeal of a contrast, which will be between a constitution as a legal document and the more general idea of a constitution, which is envisaged by the Constitutional Political Economy (CPE). It also tries to clarify the notion of expressive activity, followed by a discussion on the issue of how expressiveness operates in electoral politics. Finally, a simple two-by-two matrix is used to explore the role of expressive elements in constitutions.
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36

Maus, Fred Everett. Sexuality, Trauma, and Dissociated Expression. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.39.

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The trauma experienced by queer children and adolescents resulting from the societal stigmatizing of their sexuality may produce the post-traumatic conditions of avoidance, numbing, and dissociation. These conditions in turn may enable rich forms of musical expressiveness. The music of the pop duo, Pet Shop Boys, sometimes comes close to bringing a post-traumatic numbness into music itself. It is as though, in their case, the magic of dissociated musical expression has failed to offer its lifeline to the traumatized subject. This may sound like an artistic failure. But it can also be heard as a demystification, a refusal of the socially accepted queer expressiveness that succeeds only by avoiding the material that most needs expression.
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37

Larina, Elena A. Diagnostics of the intonation side of speech in preschool children. TOGU Publishing House, 2020. http://dx.doi.org/10.12731/larinaea.2020.120.

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This educational and methodical manual is intended for students studying in the direction of special (defectological) education 44.03.03, training profile Speech therapy, studying the discipline "Technology of formation of the pronouncing side of speech". The manual examines the ontogenesis of intonational expressiveness of speech, the peculiarities of the prosodic organization of speech in children with disabilities. Modern methods of assessing the intonation expressiveness of speech in preschool children are proposed, and the author's screening diagnostics of the intonation side of speech in preschool children is presented. The appendix contains a sample map of the diagnostic study of the intonation side of the speech of a preschool child. The manual is addressed to students of defectological departments of universities, practicing teachers-speech therapists, specialists in the field of speech pathology.
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38

Shcheglov, Yu, and A. Zholkousky. Poetics of Expressiveness: A Theory and Applications (Linguistic and Literary Studies in Eastern Europe, Volume 18). John Benjamins Pub Co, 1987.

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39

Wittmer, Virgil Theodore. Defensive style: Manipulation of facial expressiveness and its impact on psychophysiological reactivity and self-reported anxiety. 1985.

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40

Fan yi de zui gao jing jie: "xin da ya" man tan = Access to perfection in translation : faithfulness, expressiveness and elegance. Beijing Shi: Zhongguo dui wai fan yi chu ban gong si, 2006.

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41

Davies, Stephen. Music. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0028.

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Despite the attention that the philosophy of music has attracted, the focus of philosophers on music has been rather narrow. Until the 1990s, it fell almost exclusively on the works of Western instrumental classical music, and these were approached for the interest of their form and expressiveness rather than for their wider cultural significance. Since then, there has been a growing interest in performance and improvisation, in popular types of music such as rock, in the technology of recordings, in non-Western music, and in the broader social setting within which music is presented and appreciated.
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42

Berliner, Todd. Hollywood Style. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0005.

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Chapter 5 investigates the aesthetic pleasures of Hollywood’s stylistic norms, as well as pleasures afforded by a handful of noteworthy stylistic deviations. The chapter examines the ways in which Hollywood film style both supports a film’s storytelling function (by enhancing clarity and expressiveness) and offers aesthetic pleasures independent of storytelling (decoration and stylistic harmony). A film’s style may also compete with story (e.g., Touch of Evil), with genre (Leave Her to Heaven), or even with itself (Goodfellas) for control of a film’s mood and meaning. Such stylistically dissonant works inspire cognitive play as we adjust to stylistic cues that harbor disparate attitudes and meanings.
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43

Shrock, Dennis. Giuseppe Verdi – Messa da Requiem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0009.

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Historical discussion in this chapter focuses on the reasons Verdi composed a Requiem (first for the death of Gioachino Rossini and then for the death of the poet Allesandro Manzoni), followed by factors of composition, performance, and text. Musical discussion focuses on motives and structures that provide unity to the work and that give it aesthetic substance. Performance practice concerns address important revisions to the score, articulation markings that are particular to Verdi and that give the Requiem a unique expressiveness, tempo concerns, vocal and instrumental forces, and the performance of the Requiem with vocal forces on one side of the stage and orchestral forces on the other.
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44

Moran, Richard. Cavell on Recognition, Betrayal, and the Photographic Field of Expression. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190633776.003.0005.

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The ideas of expression and expressiveness have been central to Stanley Cavell’s writing from the beginning, joining themes from his more strictly philosophical writing to the role of human expression as projected in cinema. This paper explores a thread running through several different parts of his writing, relating claims he makes about the photographic medium of film and its implications for the question of expression and expressivity in film There is an invocation of notions of necessity and control in the context of cinema that should be understood in the context of related ideas in his writings on Wittgenstein and others. The paper pursues some thoughts about the power of the camera, the themes of activity and passivity in expression, and the human face as the privileged field of such activity and passivity.
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45

Spitzer, Michael. Affective shapes and shapings of affect in Bach’s Sonata for Unaccompanied Violin No. 1 in G minor (BWV 1001). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0008.

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This chapter analyses Bach’s Sonata for Unaccompanied Violin No. 1 in G minor in terms of recent theories of music and emotion. It considers how musical ‘shape’ relates to the structure of affect, conceived in the nuanced terms afforded by recent work in the psychology of discrete emotional categories. Part I is dedicated to a close reading of Bach’s opening Adagio. Analysing three levels of shape (acoustic cues, midlevel phrasing and large-scale form), the chapter compares Bach’s music both to the shape of particular emotional behaviours and to the expressive shapings of a formal model. This notion of shaping is then extended to performance styles of ‘expressiveness’ (mainstream, HIP and deviant) in three interpretations of the Adagio captured in tempo and dynamic maps. Part II analyses the whole sonata cycle in terms of ‘transformational vectors’.
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46

Sydnor, Synthia. On the Nature of Sport. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038938.003.0010.

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This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable humans to continue doing what has always been at the core of the human condition: living in community, communicating, consuming, gathering, playing.” The chapter also develops a treatise on the nature of sport that takes into account both the digital era and theories of play, ritual, and culture. Cyber activities around sport, including “fantasy league play; social and individual memories of sports performance; video/computer games; the seemingly infinite growth of sport performances/stunts showcased on YouTube, tweets, and the colossal transglobal economy associated with sport,” replicate the “fun, thrills, danger, gravity play” and other affective sensations surrounding participation in sport itself. Ultimately, the digital revolution confirms the formal, symbolic ritualistic nature of sport more than it transforms.
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47

Hill, Constance Valis. Brotherhood in Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.001.0001.

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This portrait of the Nicholas Brothers, Fayard and Harold, two of the most explosive dancers of the twentieth century, who refined a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its zenith, interweaves an intimate portrait of these great performers with a detailed history of jazz music and jazz dance, bringing their act to life and explaining their significance through analysis of their eloquent footwork and full-bodied expressiveness. The book narrates the Nicholas Brothers’ soaring careers, from Cotton Club appearances with Duke Ellington, Cab Calloway, and Jimmy Lunceford to film-stealing big-screen performances with Chick Webb, Tommy Dorsey, and Glenn Miller. Drawing on numerous hours of interviews with the Nicholas brothers themselves, the book documents their struggles against the nets of racism and segregation that constantly constrained their careers and denied them the recognition they deserved.
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48

Franklin, Eric. Dance Imagery for Technique and Performance. 2nd ed. Human Kinetics, 2014. http://dx.doi.org/10.5040/9781718212831.

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Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
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