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Books on the topic 'Principle of repetition'

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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1

Bardèche, Marie-Laure. Le principe de répétition: Littérature et modernité. Harmattan, 1999.

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2

Proctor, Richard M. Principles of pattern design. Dover, 1990.

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3

editor, Vial Hélène, and Université de Clermont-Ferrand II. Centre de recherches sur les littératures et la sociopoétique, eds. La variatio: L'aventure d'un principe d'écriture, de l'Antiquité au XXIe siècle. Classiques Garnier, 2014.

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4

Denenberg, Sagi, ed. Small animal veterinary psychiatry. CABI, 2021. http://dx.doi.org/10.1079/9781786394552.0000.

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Abstract This book contains 16 chapters that discuss mental and emotional health in the veterinary practice, ruling out physical disorders leading to behavioural changes, addressing pain in veterinary psychiatry, normal behaviour, raising mentally and emotionally healthy pets, diagnosis, learning principles and behaviour modification, psychopharmacology, problem behaviours and management, aggression, affective disorders, elimination problems, abnormal and repetitive behaviours and aging-related problems in cats and dogs.

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5

Zelenkov, Mihail, Aleksandr Skalepov, and Aleksandr Chaevich. The fundamental foundations of social conflict. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1837051.

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The textbook highlights the provisions of fundamental theories of social conflict, the results of the analysis of practical activities for its prevention and settlement, as well as the experience of previously prepared educational publications on this issue. The main directions, paradigms, concepts of the theory and practice of social conflict, their projections on the content of modern social relations are shown. The methodology of constructing the material of the educational publication is based on the use of a retrospective approach, which allowed us to outline the fundamental foundations of social conflict from a historical point of view and in the development of its characteristics over time. In addition, the principles of the well-known domestic theorist and practice of pedagogy V.F. Shatalov are applied, in particular, the repeated repetition of basic provisions, which ensures more effective memorization with less concentration of the student's attention. Meets the requirements of the federal state educational standards of higher education of the latest generation. It is addressed to teachers, students, undergraduates, postgraduates and doctoral students of higher educational institutions, and can also be used by practitioners in the field of information analytics and mediation.

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6

Change through repetition: Mimesis as a transformative principle between art and politics. Neofelis Verlag UG, 2020.

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7

Rebhan, Doris, Simon Gröger, Babylonia Constantinides, and Elisa Leroy. Change Through Repetition: Mimesis As a Transformative Principle Between Art and Politics. Neofelis Verlag UG (haftungsbeschrankt), 2020.

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8

Holowchak, M. Andrew, and Michael Lavin. Repetition, the Compulsion to Repeat, and the Death Drive. The Rowman & Littlefield Publishing Group, 2017. https://doi.org/10.5040/9781978730601.

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Repetition, the Compulsion to Repeat, and the Death Drive is a critical examination of Freud’s uses of repetition as they lead to the compulsion to repeat and his infamous death drive. Like perhaps no other concept, repetition drove Freud to an understanding of human behavior through development of models of the human mind and a method of treating neurotic behavior. This book comprises three parts. Part I, “Some Early Uses of ‘Repetition’ in Psychoanalysis,” examines repetition both in clinical therapy and in Freud’s use of phylogenetic explanation. Part II, composed of three chapters, outlines Freud’s journey to his vaunted death drive, examines Beyond the Pleasure Principle, and analyzes Freud’s use of compulsion to repeat and the death drive post 1920. Last, Part III is a critical analysis of Freud on repetition and the death drive, discusses why Freud was so wedded to his controversial death drive, and what can be salvaged from Freud’s observations and speculations. Here readers will find that Holowchak, qua philosopher, and Lavin, qua clinician, have different answers when it comes to the death drive.

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9

Connor, W. R. Scale Matters. Edited by Sara Forsdyke, Edith Foster, and Ryan Balot. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199340385.013.28.

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By examining variations in scale and techniques of expansion and contraction in Thucydides’ narrative, the essay identifies a mimetic principle in his writing—that the presentation of an episode in the work should normally be proportionate to its significance. Significance, however, is not measured by purely military factors. In fact, expansion is often an indicator of intense suffering, pathos. Among the techniques of expansion and compression discussed are allusions, superlatives, figures of speech (such as litotes), direct and indirect discourse, day-by-day narrative, enargeia (vividness) and thematic repetition (“reprise”). Many of these techniques, although not all, were also discussed among the ancient rhetoricians, who were alert to their emotional power.

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10

Laureno, Robert. Learning Neurology. Edited by Robert Laureno. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190607166.003.0015.

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This chapter on “Learning Neurology” examines methods of visual display as an effective way of enhancing learning, and it discusses teaching approaches to help others learn neurology. In learning neurology, memorizing “normal” anatomy is initially helpful, but the advanced learner or practicing neurologist must be always aware of and sensitive to the normal variations that occur in neurological anatomy. In teaching, one cannot anticipate which statements will hit home with a student; one can only hope that something one utters will affect the student’s future thinking or put him on a path of study. Repetition is the fundamental pedagogical principle, and the neurologic educator must remember its importance.

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11

La répétition: Un principe de production littéraire. A.N.R.T., Université de Lille III, 2000.

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12

Kingrey, Joan Urdal. Influencing the rate of grade retention through the organizational learning and enculturation practices of the elementary principal. 1990.

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13

Bandirali, Luca, and Enrico Terrone. Concept TV. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9781666987690.

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What is a television series? A widespread answer takes it to be a totality of episodes and seasons. Luca Bandirali and Enrico Terrone argue against this characterization. In Concept TV: An Aesthetics of Television Series, they contend that television series are concepts that manifest themselves through episodes and seasons, just as works of conceptual art can manifest themselves through installations or performances. In this sense, a television series is a conceptual narrative, a principle of construction of similar narratives. While the film viewer directly appreciates a narrative made of images and sounds, the TV viewer relies on images and sounds to grasp the conceptual narrative that they express. Here lies the key difference between television and film. Reflecting on this difference paves the way for an aesthetics of television series that makes room for their alleged prolixity, their tendency to repetition, and their lack of narrative closure. Bandirali and Terrone shed light on the specific ways in which television series are evaluated, arguing that some apparent flaws of them are, indeed, aesthetic merits when considered from a conceptual perspective. Hence, to maximize the aesthetic value of television series, one should not assess them in the same framework in which films are assessed but rather in a distinct conceptual framework.

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14

Stanivukovic, Goran. Shakespeare’s Style in the 1590s. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0028.

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Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.

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15

Yust, Jason. Formal Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0004.

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William Caplin’s concept of formal functions points the way to a more flexible theory of form based on processes and structuring principles rather than fixed schemata. This chapter further generalizes the theory of formal functions to a set of form-structural criteria based on repetition, fragmentation, caesura, and contrast. The chapter also constructs such a theory of form without necessary reference to tonal criteria, thus serving the larger project of understanding form as an independent musical dimension, capable of disjunction with, or non-trivial coordination with, tonal structure. A definition of secondary theme as a specialization of subordinate theme function is also proposed.

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16

Grant, Jon E., Sarah A. Redden, and Eric W. Leppink. Trichotillomania and Skin Picking Disorder. Edited by Christopher Pittenger. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190228163.003.0051.

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This chapter summarizes the clinical characteristics and treatment of trichotillomania and skin picking disorder (excoriation), collectively known as body focused repetitive behavior disorders. These two conditions are found in the new chapter on OCD and related disorders in DSM-5; skin picking disorder is a new DSM diagnosis. They are conceptualized as related to OCD due to the repetitive nature of the symptomatology, but they also differ in important ways. The neural underpinnings of these disorder are only beginning to come into focus, and much work is needed. The best-proven psychotherapy for these conditions is a form of CBT known as habit reversal therapy. Principles of pharmacotherapy are not clearly established, though there have been promising early studies of a number of agents.

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17

Risk assesment and managment of repetitive movements and exertions of upper limbs: Job analysis, OCRArisk indices, prevention strategies and design principles. Elsevier, 2002.

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18

Tymoczko, Dmitri. Tonality. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197577103.001.0001.

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Abstract This encyclopedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody. These are flanked by two largely analytical chapters on rock harmony and Beethoven. Wide-ranging in scope, and with almost seven hundred musical examples from the Middle Ages to the present day, it weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first-century theory of music.

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19

Risk Assessment and Management of Repetitive Movements and Exertions of Upper Limbs - Job Analysis, Ocra Risk Indices, Prevention Strategies and Design Principles. Elsevier, 2002. http://dx.doi.org/10.1016/s1572-347x(02)x8001-x.

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20

Colombini, Daniela. Risk Assessment and Management of Repetitive Movements and Exertions of Upper Limbs: Job Analysis, Ocra Risk Indicies, Prevention Strategies and Design Principles. Elsevier Science & Technology Books, 2002.

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21

Yamboliev, Irena. Ornament, the Novel, and the Victorian Real. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198958185.001.0001.

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Abstract This book demonstrates that the so-called “lesser” decorative arts transformed the representational logic and the prose style of the novel in the late nineteenth century. It builds from William Morris’s statement that “All real art is ornamental,” acknowledging that ornament is the heart and end of the artistic gesture. The book grounds itself historically in theories and practices of decorative arts developed in the middle of the nineteenth century, a moment when Victorian designers overhauled the reigning principles of ornamentation. Developing a new canon of design theory, this study shows that ornament is useful: It furnishes a new concept of the real and a method for engaging it—a realism. Rather than pictorial, gritty particularity and exhaustive detailing, decorative designers used abstraction to probe features of reality otherwise missed. These potencies carried into the novel. Wallpaper patterns, hinge-work, and stained glass: Such designs express principles of visual form—including symmetry, repetition, and conventionalization—that novelists transform into literary principles, into syntax. The resulting ornamental prose brings representational possibilities not otherwise available. George Eliot, Thomas Hardy, A. C. Swinburne, Oscar Wilde, and D. H. Lawrence use ornamental techniques to liberate into language the mechanics of perception, the laws guiding a body’s relationships to its surroundings, the patterns of the mind, and the dynamics of individuation. In recognizing ornament’s contributions to realism, to the form of the novel, and to our formalisms of the novel, Ornament, the Novel, and the Victorian Real corrects a long-standing equation of ornament with fantasy, empty excess, or decadence.

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22

Lewis, Marc D. The Development of Emotion Regulation. Edited by Philip David Zelazo. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199958474.013.0004.

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This chapter examines the relation between normative advances and emerging individual differences in emotion regulation (ER), using principles from developmental cognitive neuroscience to integrate these seemingly disparate processes. Like several other theorists, I view corticolimbic development as a self-organizing stream of synaptic alterations, driven by experience rather than biologically prespecified. This conceptualization helps resolve ambiguities that appear when we try, but consistently fail, to neatly parse individual differences and developmental differences. At the neural level, increasingly specific patterns of synaptic activation converge in response to (or in anticipation of) recurrent emotions, creating synaptic networks that link multiple regions. These networks regulate emotions (in real time). But they also stabilize and consolidate with repetition, thus giving rise tohabitsthat are the hallmark of individual development. These configurations are progressively sculpted through individual learning experiences, but they also become increasingly effective with use, thereby expressing both individual trajectories and normative advances as they develop. In sum, experience-driven synaptic changes create a repertoire of individual solutions to universal challenges, shared among members of a culture or society. This description casts individual differences and age-related advances as dual facets of a unitary developmental process.

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23

Colombini, Daniela. Risk Assessment and Management of Repetitive Movements and Exertions of Upper Limbs: Job Analysis, Ocra Risk Indicies, Prevention Strategies and Design Principles (Elsevier Ergonomics Book Series). Elsevier Science, 2002.

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24

Colombini, Daniela. Risk Assessment and Management of Repetitive Movements and Exertions of Upper Limbs: Job Analysis, Ocra Risk Indicies, Prevention Strategies and Design Principles (Elsevier Ergonomics Book Series). Elsevier Science, 2002.

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25

Vorel, Stanislav R., and Sarah H. Lisanby. Therapeutic potential of TMS-induced plasticity in the prefrontal cortex. Edited by Charles M. Epstein, Eric M. Wassermann, and Ulf Ziemann. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780198568926.013.0038.

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This article discusses synaptic plasticity as a potential mechanism of enduring changes in function observed after relatively brief periods of repetitive (r)TMS. Plasticity is a use dependent enduring change in neural structure and function. The characteristics of plasticity are described in this article. Taking into account, the interactions between rTMS and pharmacological manipulations, this article explores how principles of synaptic plasticity may be exploited in the rational design of future rTMS paradigms in psychiatric disorders like major depressive disorder, obsessive-compulsive disorder, substance use disorders, schizophrenia etc. TMS is under active study in the treatment of a range of psychiatric and neurological disorders. Furthermore, this article discusses the implications for the interpretation of existing TMS literature and design of future interventions. TMS experiments of plasticity in the human motor cortex have been limited by the intensity and frequency of TMS protocols.

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26

Rotenberg, Alexander, Alvaro Pascual-Leone, and Alan D. Legatt. Transcranial Electrical and Magnetic Stimulation. Edited by Donald L. Schomer and Fernando H. Lopes da Silva. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190228484.003.0028.

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Noninvasive magnetic and electrical stimulation of cerebral cortex is an evolving field. The most widely used variant, transcranial electrical stimulation (TES), is routinely used for intraoperative monitoring. Transcranial magnetic stimulation (TMS) and transcranial direct current stimulation (tDCS) are emerging as clinical and experimental tools. TMS has gained wide acceptance in extraoperative functional cortical mapping. TES and TMS rely on pulsatile stimulation with electrical current intensities sufficient to trigger action potentials within the stimulated cortical volume. tDCS, in contrast, is based on neuromodulatory effects of very-low-amplitude direct current conducted through the scalp. tDCS and TMS, particularly when applied in repetitive trains, can modulate cortical excitability for prolonged periods and thus are either in active clinical use or in advanced stages of clinical trials for common neurological and psychiatric disorders such as major depression and epilepsy. This chapter summarizes physiologic principles of transcranial stimulation and clinical applications of these techniques.

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27

Riehl, Mark. TMS stimulator design. Edited by Charles M. Epstein, Eric M. Wassermann, and Ulf Ziemann. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780198568926.013.0003.

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Transcranial magnetic stimulators have progressed from basic implementations to integrated systems optimized for treatment of pathologies. This article reviews key factors of design of such clinically targeted systems, discussing design principles, procedure-specific features, and clinical safety requirements. A power source, a capacitor, and a high-power switch controlled by a processor form the basic stimulator. The fundamental operating mechanism of a TMS stimulator is to create a changing magnetic field that can induce a current in adjacent conductive material. The clinical TMS system must incorporate patient positioning, patient comfort, coil positioning features, and intuitive user controls and means of managing patient data to be a fully effective system. The most important safety risk with repetitive TMS reported in the literature is the risk of inducing seizure. Other safety considerations include proper use of human factor analysis to minimize improper operation, the biocompatibility of materials touching the patient, and addressing acoustic noise.

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28

Walker, Paul. Fugue in the Sixteenth Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190056193.001.0001.

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This book explores the roots of the classic fugue and the early history of non-canonic fugal writing through the three principal fugal genres of the sixteenth century: motet, ricercar, and canzona. The book begins with the pivot in Western composition from an emphasis on variety to one on repetition, first developed by such Franco-Flemish composers as Loyset Compère and Josquin des Prez toward the end of the fifteenth century. By around 1520 Jean Mouton and his contemporaries had established the classic Franco-Flemish motet with its well-known point-of-imitation structure. Nicolas Gombert proved to be the real pioneer in the further development of this idea in the 1530s when he explored the return of thematic material after its initial presentation, an approach that proved central not only to the motet writing of Thomas Crecquillon and Jacobus Clemens non Papa, but also to the earliest experiments in serious abstract instrumental composition (the ricercar) undertaken by a series of organists active in Venice, most notably Claudio Merulo and Andrea Gabrieli. The most important innovation of the last decades of the century was the creation at the hands of Brescian organists of the fugal canzona alla francese, an instrumental genre inspired not by the sophisticated compositional style of the motet, but by the contrapuntally looser approach of such imitative chansons as Passereau’s Il est bel et bon. By century’s end, composers such as Giovanni de Macque had given the canzona a contrapuntal integrity commensurate with that of the ricercar.

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29

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.

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30

Aspectos principais sobre a biologia e o controle químico do percevejo marrom na cultura da soja. Brazilian Journals Editora, 2021. http://dx.doi.org/10.35587/brj.ed.0001216.

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O percevejo marrom (Euschistus heros) era uma praga secundária da soja até meados dos anos 70. Entretanto, com o a expansão dos cultivos da região sul para as áreas mais centrais do país, este inseto mudou seu status e atualmente é considerado a principal praga da cultura. Os danos causados pelo E. heros decorrem do ataque às vagens da planta, principalmente na fase de enchimento, reduzindo a produtividade e a qualidade da produção. O inseto é bastante adaptado às regiões de clima mais quente e pode alcançar densidade populacional bastante elevada, principalmente nas fases finais do ciclo da cultura. A praga também é favorecida pelo sistema de plantio direto, que facilita a obtenção de abrigo e alimento nos restos culturais, pela sucessão de cultivos, já que culturas como milho, feijão e algodão também podem ser atacadas; e pelo uso inadequado de pesticidas que reduzem a população de inimigos naturais. O manejo da praga tem se baseado predominantemente no controle químico. Há 67 inseticidas comerciais registrados no país para este fim, os quais se dividem em apenas 4 modos de ação e 6 grupos químicos, com destaque para os organofosforados, piretróides e neonicotinóides que são os mais utilizados. Essa limitação desperta preocupações quanto ao desenvolvimento de populações resistentes da praga. Vários estudos já indicam a ocorrência de resistência a alguns dos inseticidas mais utilizados em certos locais. A implementação do manejo integrado de pragas é essencial para evitar o uso excessivo dos inseticidas, preservar a população dos inimigos naturais e, assim, atenuar a pressão de seleção para a resistência da praga. Neste sentido, deve-se também evitar o uso repetitivo de produtos com o mesmo princípio ativo, dando preferência pela rotação de inseticidas com diferentes modos de ação. Além disso, é importante avaliar a eficiência do controle realizado para identificar possíveis casos de resistência. Como muitos episódios de falha de controle podem ser consequência de problemas na tecnologia de aplicação ou de condições meteorológicas inadequadas, em caso de suspeita de resistência, amostra representativa da população local da praga deve ser enviada para avaliação em laboratório qualificado. Se confirmada a resistência, o inseticida em questão deverá ser excluído do programa de manejo e substituído por outro, preferencialmente com um modo de ação diferente.

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