Title Of Section Research Articles

Efektivitas Sistem Temu Kembali Informasi Online Public Catalog (OPAC) Dengan Tinjauan Precision Menggunakan Pendekatan Judul Dan Subjek Di Perpustakaan Universitas Muhammadiyah Bengkulu

Library as a centre for information resources is the backbone of the progress of an educational institution. Imbalance between the use of information retrieval system facilities advance search and a quick search of the catalogue are very common in a search. This study was aimed to know and to describe how the precision of information retrieval system by using title field and subject on OPAC (Online Public Access Catalog) ) at Muhammaddiyah University Library of Bengkulu is effective as an information retrieval system. This study was a quantitative descriptive study using analytical methods. The technique of data collection in this study was by using trace observation on the Online Public Access Catalog (OPAC). The study was carried out by using the title of the names of study programs and the subject to study program as the study sample a mounted to 206. Sample were taken by using purposive sampling techniques. The result of the study showed that search using advanced search features by using the section title of sociology subject obtained a precision marks of 0,98 while the use of advanced search features by using biology education subject obtainrd precision mark of 0,66. The use of quick search feature by using the sociology subjects get a precision marks of 0,98 while the use of quick search feature by using biology education subject obtained a precision marks of 0,99. The testing on the four search shows that the quick search and advanced search features in the title and subject are in the average range of 0,90 so it is said that the search system of OPAC at Muhammadiyah University Library of Bengkulu is effective as an information retrieval system.

Le Nouveau Roman: une césure dans l'histoire du récit by Francine Dugast-Portes

Reviewed by: Le Nouveau Roman: une césure dans l'histoire du récit by Francine Dugast-Portes Karlis Racevskis Dugast-Portes, Francine. Le Nouveau Roman: une césure dans l'histoire du récit. PU de Rennes, 2018. ISBN 978-2-7535-7399-4. Pp. 401. The first edition of this wide-ranging and insightful survey appeared already in 2001. The re-edition became necessary, as Dugast-Portes explains, when she took stock of the continuing debates, commentary, and colloquia on the topic of the New Novel and its legacy over the past few years. Thus, the author finds that the time had come to reassess the movement and to revisit what she terms "un moment glorieux de la littérature" (122). It is also a unique and somewhat puzzling moment, and to refer to it as "une césure dans l'histoire du récit" is to underline the ambiguous meaning implicit in the notion of a caesura, as Dugast-Portes specifies: "entendons-la comme coupure, pause, suspens, qui implique des disparitions, des reprises, des articulations" (22). In terms of its own cultural context, this episode is marked by a paradox that serves as a guiding principle for the author's approach to the history of the movement because she sees it as "un phénomène à la fois subversif et intégré par la sphère culturelle" (347). In the first section of the book, entitled "Éléments d'histoire: une césure très médiatisée," Dugast-Portes stresses the mediating role played by universities—in France and abroad—by publishing houses, colloquia, the media, literary prizes, that effectively advanced the process of cultural integration. The section "Subversions" covers the whole range of methods, approaches, tactics and devices employed by the authors of a movement that makes itself known "par sa radicalité formelle, par une subversion de tous les paramètres" (342). What is questioned during this "Ère du soupçon," as Nathalie Sarraute famously put it, is the validity of all the established intellectual and aesthetic norms that constituted what could be termed "un certain type d'humanisme traditionnel" (207). In the final account and in a general sense, all of this subverting is to be seen as "Le questionnement obstiné du sens"—the title of the third section. In this regard, as Dugast-Portes points out, it becomes necessary to account for the complexity of the contemporary context informing the emergence of the New Novel and to appreciate "l'arrière-plan culturel [End Page 210] dans lequel furent formés, au sens scolaire, les nouveaux romanciers" (214). This background included the recent experience of death camps, Hiroshima, the emergence of "La Nouvelle Critique," the influence of psychoanalysis, of scientific developments such as relativity, quantum theory, computers, and, in a general way, of "l'incertitude liée aux limites de la compréhension humaine, l'importance de la complexité, du paradoxe, de l'entropie" (273). The section "Dans le mouvement des esthétiques" brings up the connections and rapport with other arts, in particular with music, painting, and film. It also brings out the importance of humor, of the ironic and ludic dimensions in the writings of the New Novelists, aspects that serve to underline the critical self-awareness of the authors. And while Dugast-Portes admits at the end that her interpretations probably produced meanings never intended by these authors, her highly informed syntheses make this critical study a most valuable resource in the field. Karlis Racevskis Ohio State University, emeritus Copyright © 2019 American Association of Teachers of French

Disendowing Danger

Disendowing Danger Joan Naviyuk Kane (bio) Swing at Your Own Risk Metta Sáma Kelsey Street Press http://www.kelseyst.com 128 Pages; Print, $16.95 The poems of Metta Sáma's Swing at Your Own Risk insist that the power of language is not a mere abstraction, that a poem's subjects concentrate through political and lyrical relation. Its first poem "When the body's a graveyard" begins with a question that dilates and contracts over two pages "what if the body is not / sacred ground," through various subjects (fetus, child, man, child, father, history, mother), "does this stilled child still belong / to me? to / the ground? itself?", and undergirds the collection. The born or unborn child, literal or figurative, is biologically like the mother, and the mother like child; it's now known, irrefutably, that pregnancy changes maternal DNA. The poems return to the child throughout, not as mere material or collateral, but as metaphor as well as fact. So too, is the invocation of a muzzled, martyred woman—St. Anastasia the Enslaved—in the book's third poem, which re-contextualizes once again that long before white and white passing celebrity women drew national attention to the heteropatriarchal power system through #MeToo, nonwhite women in particular have experienced and (will) continue to experience sexual exploitation at rates that far exceed those of women whose lives and careers afford them the platform to speak up and out, (according to recent congressional testimony in the stalled Savanna's Act, some 84% of Native women have experienced violence in our lives, more than half of us have been assaulted, more than a third of us have been raped—but so many crimes against women have gone, go, and presumably will continue to go undocumented that it feels at once futile and necessary to cite these figures) not just within exquisite poems as does Sáma. In "Escrava Anastacia speaks," the poems' syntax and movement between long, enjambed lines and contrapuntal one-word sentences—as in: "Ships crest and dock. Beneath this dress. Semen sea foams froths furors. / (Lace at the ankles. The means of me. To weather: shiver. Hinge. Wear. / Sluice. Flicker. Fuck. Flood.)"—remind the reader that utterance is not always in search of rhetorical applause, that dispossession of one's own body and experience catalogues itself in fragment and screen inasmuch as one is given to disclose it through social (or other readily-accessible and parse-able) media. The parenthetical, a recursion to "what" rather than "who" or "why"—these propel Sáma's poems, making visible the seams of edifice, pressing into language silence, silence against language, and then altogether as deliberately paced and cadenced. There is no accident of ink, of breath, of space. The ostensive situations behind Sáma's book are powerfully foregrounded through the poems themselves at the level of the line and of sequence throughout. Any survivor eyeing Swing at Your Own Risk's table of contents might register each of the six section titles—Swing—as a denotation, a call to arms, an imperative, a description, a recollection, a noun. In poems like "NYPD v The people of NYC," which, like others in the collection, begins with "When," as in this poem: "When you see the pitch-perfect black 4-door / shaded windows." A reader's impulse to categorize lexically is checked by the lines that follow, "shaded windows roll up on you, don't grip / your wheel." Associatively, setting aside for now the second-person pronoun, consider not the rhetorical gesture of address, but the epigraph that recurs throughout the collection: Bhanu Kapil's "Sometimes you have to choose who you are." Keep in mind, too, that the windows are shaded, concealing identities, concealing that which happens within and filtering, as it were, that which happens without. "Casually look over your shoulder /as one of their windows slips down. Don't think / drive-by. Don't /remember history. It's only the police." Mindful, as ever, to parts of speech as well as to parts of self, the lines weigh themselves against the easy and/but heavy adverb prefacing the imperatives that follow, as well...

What the Victorians Made of Romanticism: Material Artifacts, Cultural Practices, and Reception History by Tom Mole

Reviewed by: What the Victorians Made of Romanticism: Material Artifacts, Cultural Practices, and Reception History by Tom Mole Paul Westover (bio) Tom Mole. What the Victorians Made of Romanticism: Material Artifacts, Cultural Practices, and Reception History. Princeton: Princeton University Press, 2017. Pp. xii + 317. $45. Prominent theorists of reading, reception, memory, and critical practice have argued that literary scholarship too often privileges contexts of origin (that is, histories of composition, publication, and initial reading). Several have called for rigorous approaches that account for literature’s movement across time and its downstream ability to engage new readers and even non-readers. Tom Mole has taken up the challenge; in resistance to what he calls “punctual historicism”—something like the “box” historicism Rita Felski has criticized—Mole’s What the Victorians Made of Romanticism extends the catalogue of recent studies that take seriously the mobility of Romantic writing across generations. Other important studies in this vein include [End Page 135] Heather Jackson’s Those Who Write for Immortality (2015), Devoney Looser’s The Making of Jane Austen (2017), Ann Rigney’s The Afterlives of Walter Scott (2012), and Catherine Robson’s Heart Beats: Everyday Life and the Memorized Poem (2012)—books quite different from one another yet sharing a strong trans-temporal orientation that illuminates how literature “resonates,” to borrow a term from Wai Chee Dimock. These books may not tell us what specific texts mean in the way of interpretive criticism, but they do pursue the question of what literature as a whole means, or has meant, to people. At the same time, by focusing on the paths by which literature has made itself part of people’s lives, these studies combat pure methodological textualism, insisting that “literature” in the broad sense operates far beyond the page. It isn’t that questions of long-term reception are new to scholarship, but rather that fresh attention to media ecology, book history, material culture, and cultural practices opens new ways to think about them. What the Victorians Made of Romanticism aims to expand the literary field to include the whole “web of reception,” which for Mole includes human actors—readers, adapters, repurposers—as well as all sorts of books (not just early editions), multiple media channels, and a world of literary things. We have long known that works of literature and authors’ reputations do not “survive” without help, but Mole’s research highlights some of the forms that help has taken at particular historical junctures. On some level, Mole’s work might be understood as the latest major book in the mode of “(Insert Author) and the Victorians” (e.g., Andrew Elfenbein on Byron [1995], Stephen Gill on Wordsworth [1998]) to the extent that it traces the late-nineteenth-century reception histories of Scott, Byron, Shelley, Hemans, and Wordsworth. Mole asks how these writers became newly relevant for certain kinds of Victorian readers even as they seemed in danger of being forgotten. However, in its focus on (re)mediation, this study is more accurately thought of as a sequel to Mole’s earlier books on Byron, book history, and celebrity. As Mole clarifies from the outset, “I’m mainly interested in what the Victorians made of Romanticism rather than what they wrote about it” (3). Mole’s five section titles offer a sense of the book’s scope: “The Web of Reception,” “Illustrations,” “Sermons,” “Statues,” “Anthologies.” Each section contains three chapters, evocative case studies that spar entertainingly with critical conversations in related fields. The range of materials determines the range of methods: bibliography, influence history, media theory, tourist history, “distant reading,” and so forth, all blending to match the mix of visual, material, and textual artifacts. While a table of contents listing fifteen chapters plus introduction and coda might give some readers pause, Mole’s book does not in fact over-whelm [End Page 136] with its scale. The average chapter length, excluding the shorter introduction and coda, is under fourteen pages, and the longest chapter comes in at nineteen. Lively, economical divisions offer packages of thought for a single sitting, though significant arguments cross chapters. Generally, Mole launches each section by describing a key historical shift and offering an overarching claim concerning...

Disney ‘World’: The Westernization of World Music in EPCOT’s “IllumiNations: Reflections of Earth”

Although Disney’s EPCOT theme park markets itself as a place to experience other cultures and reflect on Earth’s history, the dominance of a Western perspective omits true authenticity, specifically in the music of its nighttime show IllumiNations: Reflections of Earth. This 13-minute long presentation offers a visual retelling of humanity’s existence accompanied by an original musical score that guides the narrative. The consecutive music section titles provide insight into critical points within Disney’s story arc: Prologue: Acceleration, Chaos, Space, Life, Adventure, Home, Celebration, and Meaning. While sounds of music from other cultures do present themselves—albeit in stereotypical and clichéd fashions— they are arbitrarily highlighted within a framework of Western musical components. This framing allows Disney composers to control the perception of ‘others’ through music. Furthermore, the final Meaning section is entirely built of Euro-American musical conventions, insinuating that cultures arrive at their most enlightened, evolved selves when they become Westernized. Despite its impressive technological advances and complex musical composition, IllumiNations: Reflections of Earth is guilty of implementing Western musical frameworks that Disney utilizes in the majority of its films and theme parks.

Approaches to Teaching Shakespeare's English History Plays ed. by Laurie Ellinghausen

Reviewed by: Approaches to Teaching Shakespeare's English History Plays ed. by Laurie Ellinghausen Dominick Grace Laurie Ellinghausen, ed. Approaches to Teaching Shakespeare's English History Plays. mla, 2017. 249 pp. $24.00. Approaches to Teaching Shakespeare's English History Plays, edited by Laurie Ellinghausen and featuring almost thirty short essays, as well as a short but useful introductory section that identifies helpful resources, adds another valuable volume to the mla Approaches to Teaching World Literature series. The series is designed to address works, traditions, or authors "widely taught at the undergraduate level," and it is "intended to serve specialists as well as nonspecialists" ("mla Book Series"). Consequently, this is not a resource designed to provide detailed close readings or an overview of the most recent scholarship on the history plays; [End Page 132] although some chapters may offer new insights into the plays, even for experienced teachers, the main function of this book is to provide an array of suggestions for teaching. The focus, therefore, tends to be more on matters of pedagogy and practical classroom work (for example, suggested exercise or assignments, or research strategies—including many very interesting suggestions for the use of electronic resources) than on direct engagement with the texts of the plays themselves. Teachers of Shakespeare looking for ways to vary or modify their teaching practice will find much to consider here. One of the most valuable things about this collection is that it covers the full range of the plays traditionally grouped under the "history" heading: the Henry plays (all of them, including Henry VIII), the Richard plays, and King John. Perhaps the relatively recent consensus that Edward III is also Shakespeare's explains its omission here, although it has been included in The Riverside Shakespeare (identified along with the Norton as one of the two most popular editions among those surveyed while compiling this project) for quite some time and is available as part of the full Norton package (digital only)—or perhaps it is simply taught so infrequently that no contributor to this volume has used it in class. Its exclusion is a minor weakness, at best, as I doubt that the target audience of undergraduate teachers of Shakespeare are likely to select it for classroom use anyway. Somewhat less helpful for that target audience is the fact that the index does not include the plays themselves, so one cannot do a quick check to find all the places in the book where the play or plays one is interested in might be considered. While many chapter titles do identify which plays the author has used, many do not. Since many readers of this book may be interested in suggestions for only one or two plays, they are put in the position of having to read the whole book, or at least scan the chapters, to find potentially useful material, which makes the book somewhat less user-friendly than it might be. Nevertheless, this is a useful book, both for the experienced teacher of Shakespeare's history plays and the teacher beginning to develop curriculum. Newer teachers will benefit especially from the opening section, "Part One: Materials," which offers a digestible summary of valuable resources, from brief comments on which editions of Shakespeare are most used, through short sections on language, sources, other useful primary texts, recommended secondary readings, the critical traditions surrounding the plays, performance history, and digital resources. These are brief introductions, not exhaustive, so they provide teachers with good starting points [End Page 133] without being overwhelming; they leave readers who interested in a particular approach to dig more deeply on their own. More generally useful is "Part Two: Approaches," itself subdivided into sections focusing on "Primary Sources," "Political, Intellectual, and International Contexts," "Theory and Criticism," "Gender," "Teaching through Research, Writing, and Performance," "Contemporary Media," "Classroom Contexts," and, finally, a short guide to internet resources by Hugh Macrae Richmond, creator of the Shakespeare-focused website Shakespeare's Staging. As these section titles indicate, the book lends itself to a variety of approaches, so individual users will find some sections more useful than others. Lynne Bruckner's chapter, for instance, "Richard II: Presentism, Pedagogy, Ecocriticism," in the theory and...

The Black Woman as Artist: The Queer Erotics of Rita Dove's Beulah

This article offers a corrective to scholarly focus on themes of racial authenticity and Thomas's grief in Rita Dove's Thomas and Beulah (1986), instead recovering the section on Beulah from the gendered sequestration that is marriage and domesticity. The essay reads Beulah's subjectivity through queerness, first by acknowledging that her characterization elides the gendered politics of black heterosexuality and then in exploring Beulah's longing for her own self as a black female—and queer—erotic. Beulah's non-normative genderedness is represented by an aesthetic of emergence that is signaled by the section title ("Canary in Bloom") and that resonates with the black feminist coupling of ontology with creativity. The artfulness of Beulah's becoming is evident in the negotiation of voice between the narrator and character; that is, the book's queer erotics become structural in the collaboration between the narrator and Beulah, a mix of direct and free-indirect narration that permits a female camaraderie as the narrator's authority is used to sustain Beulah's limning.

Given Time

Given Time Alan Walowitz (bio) To One Who Bends My Time Sarah White Deerbrook Editions www.deerbrookeditions.com/to-one-who-bends-my-time 98 Pages; Print, $17.50 Who wouldn't want to bend time to human will, or to bend it, at least a bit, in hopes of making it last? Or perhaps bend it to replay painful moments upon request, and in doing so, better integrate them into now. Many have tried such time-bending through meditation, yoga, and recently mindfulness, as well as less reliable means like teleportation, time-travel, and astral projection. Others have attempted to explain exactly what such bends in time might truly mean. Science doesn't make it easy. Einstein uses the term "space-time" in order to help stem any confusion between time, as understood by poets and other earthlings, and time as astrophysicists might understand it. Here on earth, Arthur Miller attempted a time-bend, himself, calling his autobiography Timebends (1972). This, according to Roger Shattuck's book review of it, ("He Who Is Most Alone" in The New York Times on November 8, 1987) probably for the way the great American playwright dipped back and forth between past and present. Coincidentally, there is an Arthur Miller reference in one of Sarah White's poems—to A View from the Bridge (1955)—in her "Ideas of Honor." Here she melds the fates of Madam Butterfly, Eddie Carbone, and, in her imagination, the speaker's own sorry, romantic fate at the hands of a Sicilian lover. That's only one kind of time-bending here in to one who bends my time by this poet, visual artist, and teacher. And, while it's true that this Miller reference might be coincidental, a close reading of any poem by Sarah White—either in this collection or in her previous ones—would lead one to believe there isn't much room for accidents, poetic, linguistic, or otherwise. Perhaps it's best to begin a closer look by dispensing with the fiction that to one who bends my time, Sarah White's latest, is not autobiographical. She provides plenty of details in the poems that indicate these are largely poems wrung from her soul and from her own experience. In fact, the collection walks the very fine line between honesty, which even sometimes takes the form of self-laceration, and self-healing, which then happily becomes, as ought to happen in good poetry, self-healing for both the poet and the reader. An example of such self-laceration is "Words On a Wintry Day," a section from the triptych "Three Spilled Milk Poems." She has never used the phrase mental anguish.Now, on this February morning in Ann Arbor,coached by a lawyer, she uttersthe term before a judgewho declares her marriage over. Later, the Anguish-Makercomes to see her, thanks herfor completing the procedure,informs her of his own near future—a woman whose name is familiar and a wedding on the last day of February.Leap Day! time for magic spells.When she hears his kind parting words—I hopeyou find someone, Sarah—she knowsshe'll be alone for years and years. It's difficult to tell such stories on oneself, the humiliation of a divorce, a poet "forced" to utter words lent by a lawyer, a confrontation with the Anguish-Maker, even as he's about to deliver more anguish—and then some more. And it should be noted, "Spilled Milk" is the title of the opening section of the book from which this poem comes. It's filled with stories from childhood, legends, old wives' tales, and aphorisms. But it's not all sorrow and there's no self-pity in it, even for the occasional self-laceration. For instance, the potentially painful poem titled "If at My Deathbed," turns out to be a hoot, not at all the promised deathwatch, but rather a gently sardonic poem about a teacher who taught her class to sing the Norwegian national anthem. The poet seems to want us to know that such knowledge might end up being every bit as...

Special Section Title Page

Special Section Title Page

Special Section Title Page

Special Section Title Page

Special Section Title Page

Special Section Title Page

The Long Macro View

This invited commentary is an edited transcript of remarks made at the opening session of the 40th Annual Macromarketing Conference at the Quinlan School of Business, Loyola University Chicago (June 25-28, 2015). The minor changes that have been added to the verbal remarks below (e.g., section titles, insertions of a few implied words) have been made for clarification purposes only. The theme of that conference was Social Justice Marketing as Provisioning Technology. The focus takes a very long macro view (40,000 years of homo sapiens as a species!). This telescoping lens enables us to view Homo sapiens aggregately, as a macro systemic sociohistoric structure, with an unknown but arguably alterable future. Hence the essay title, “The Long Macro View”.

Crop Modeling Applications in Agricultural Water Management

Abstract. This article introduces the fourteen articles that comprise the “Crop Modeling and Decision Support for Optimizing Use of Limited Water” collection. This collection was developed from a special session on crop modeling applications in agricultural water management held at the 2016 ASABE Annual International Meeting (AIM) in Orlando, Florida. In addition, other authors who were not able to attend the 2016 ASABE AIM were also invited to submit papers. The articles summarized in this introductory article demonstrate a wide array of applications in which crop models can be used to optimize agricultural water management. The following section titles indicate the topics covered in this collection: (1) evapotranspiration modeling (one article), (2) model development and parameterization (two articles), (3) application of crop models for irrigation scheduling (five articles), (4) coordinated water and nutrient management (one article), (5) soil water management (two articles), (6) risk assessment of water-limited irrigation management (one article), and (7) regional assessments of climate impact (two articles). Changing weather and climate, increasing population, and groundwater depletion will continue to stimulate innovations in agricultural water management, and crop models will play an important role in helping to optimize water use in agriculture. Keywords: Agricultural water management, Crop modeling, Evapotranspiration, Irrigation, Irrigation scheduling.

The god of small things: A novel born of/on the waste land

This paper is an attempt to uncover the dialogic relationship -- a special case of intertextuality -- that exists between Arundhati Roy's novel The God of Small Things and T.S. Eliot's poem The Waste Land. It traces the way the soul as well as the symbolic chain of events of Eliot's poem has transmigrated into Roy's novel and permeated the whole of its being. It attempts to trace out the roots of the major themes in the “recipient” novel to the “emitter” poem, points out the glaring instances of correspondence between the two works in their themes, imagery, language, characters and style, and brings out the dialogicality of Roy's novel. When Eliot opens his poem saying “April is the cruelest month/Breeding…,” Roy opens her novel saying “May in Aymenem is a hot, brooding month.” Here, albeit she does not acknowledge her source, her reader hears the voice of her predecessor, Eliot. Similarly, the title of the first chapter of The God of Small Things “The Paradise Pickles & Preserves,” and the title of the first section of The Waste Land “The Burial of the Dead” symbolize the same idea; in fact, the former is a euphemism of the latter. Hence, when a novelist draws themes from a highly fragmented poem such as The Waste Land, she has to expand each of these themes and images into a well-structured piece of fiction by adding new characters, actions and situations. And while undergoing such a process, the work comes to have a special sort of originality. Here, Eliot is exploring a spiritual remedy for the sad destiny of man. And finally, the poet tells the reader of the spiritual promises of the Eastern religions, especially Buddhism.

Bone Health in Athletes.

Context:The health of the skeletal system is important for athletes young and old. From the early benefits of exercise on bones to the importance of osteoporosis prevention and treatment, bone health affects the ability to be active throughout life.Evidence Acquisition:PubMed articles dating from 1986 to 2016 were used for the review. Relevant terms such as keywords and section titles of the article were searched and articles identified were reviewed for relevance to this article.Study Design:Clinical review.Level of Evidence:Levels 1 through 4 evidence included.Results:There is strong evidence that exercise benefits bone health at every age and is a critical factor in osteoporosis prevention and treatment. Vitamin D, calcium, and hormones play vital roles in ensuring optimal bone health. When there is an imbalance between exercise and nutrition, as seen in the female athlete triad, bone health is compromised and can lead to bone stress injuries and early osteoporosis. Both of these can lead to morbidity and lost time from training and competition. Thus, early recognition and appropriate treatment of the female athlete triad and other stress fracture risk factors are vital to preventing long-term bone health problems.Conclusion:To optimize bone health, adequate nutrition, appropriate weightbearing exercise, strength training, and adequate calcium and vitamin D are necessary throughout life.

"Does reading a single passage of literary fiction really improve theory of mind? An attempt at replication": Correction to Panero et al. (2016).

Reports an error in "Does Reading a Single Passage of Literary Fiction Really Improve Theory of Mind? An Attempt at Replication" by Maria Eugenia Panero, Deena Skolnick Weisberg, Jessica Black, Thalia R. Goldstein, Jennifer L. Barnes, Hiram Brownell and Ellen Winner (Journal of Personality and Social Psychology, Advanced Online Publication, Sep 19, 2016, np). In the article, due to an error in stimulus construction, four items (three authors, one foil) were omitted from the ART presented to all participants tested by Research Group 1. These omissions do not undermine the results in the primary analyses, which all included ART and ART Condition (as covariates). Any variation across research groups, including this difference in reading exposure measurement, is accounted for in the multilevel analyses. Therefore, the Table 2 title should appear as Reading the Mind in the Eyes Test (RMET) Scores by Condition and Overall Unadjusted Means for the Current Study and Kidd and Castano (2013), as Well as the Zero-Order Pearson's Correlations Between RMET and ART Scores Overall and by Condition. The ART data columns should be deleted, and the table note should begin as follows: RMET scores were transformed to correct for skew prior to correlational analyses. The section title above the Discussion section should appear as Comparison of Our RMET Scores to Kidd and Castano Data, with the first two sentences appearing as follows: To determine whether the responses in our sample were similar to what Kidd and Castano (2013) found, we compared our mean performance on the RMET to theirs. Our grand mean (26.28) was significantly higher than theirs (25.18), t(1=, 374) = 3.71, p< .001, d = 0.21. All versions of this article have been corrected. (The following abstract of the original article appeared in record 2016-44825-001.) Fiction simulates the social world and invites us into the minds of characters. This has led various researchers to suggest that reading fiction improves our understanding of others' cognitive and emotional states. Kidd and Castano (2013) received a great deal of attention by providing support for this claim. Their article reported that reading segments of literary fiction (but not popular fiction or nonfiction) immediately and significantly improved performance on the Reading the Mind in the Eyes Test (RMET), an advanced theory-of-mind test. Here we report a replication attempt by 3 independent research groups, with 792 participants randomly assigned to 1 of 4 conditions (literary fiction, popular fiction, nonfiction, and no reading). In contrast to Kidd and Castano (2013), we found no significant advantage in RMET scores for literary fiction compared to any of the other conditions. However, as in Kidd and Castano and previous research, the Author Recognition Test, a measure of lifetime exposure to fiction, consistently predicted RMET scores across conditions. We conclude that the most plausible link between reading fiction and theory of mind is either that individuals with strong theory of mind are drawn to fiction and/or that a lifetime of reading gradually strengthens theory of mind, but other variables, such as verbal ability, may also be at play. (PsycINFO Database Record

Does reading a single passage of literary fiction really improve theory of mind? An attempt at replication.

[Correction Notice: An Erratum for this article was reported in Vol 111(5) of Journal of Personality and Social Psychology (see record 2016-50315-003). In the article, due to an error in stimulus construction, four items (three authors, one foil) were omitted from the ART presented to all participants tested by Research Group 1. These omissions do not undermine the results in the primary analyses, which all included ART and ART Condition (as covariates). Any variation across research groups, including this difference in reading exposure measurement, is accounted for in the multilevel analyses. Therefore, the Table 2 title should appear as Reading the Mind in the Eyes Test (RMET) Scores by Condition and Overall Unadjusted Means for the Current Study and Kidd and Castano (2013), as Well as the Zero-Order Pearson's Correlations Between RMET and ART Scores Overall and by Condition. The ART data columns should be deleted, and the table note should begin as follows: RMET scores were transformed to correct for skew prior to correlational analyses. The section title above the Discussion section should appear as Comparison of Our RMET Scores to Kidd and Castano Data, with the first two sentences appearing as follows: To determine whether the responses in our sample were similar to what Kidd and Castano (2013) found, we compared our mean performance on the RMET to theirs. Our grand mean (26.28) was significantly higher than theirs (25.18), t(1=, 374) = 3.71, p< .001, d = 0.21. All versions of this article have been corrected.] Fiction simulates the social world and invites us into the minds of characters. This has led various researchers to suggest that reading fiction improves our understanding of others' cognitive and emotional states. Kidd and Castano (2013) received a great deal of attention by providing support for this claim. Their article reported that reading segments of literary fiction (but not popular fiction or nonfiction) immediately and significantly improved performance on the Reading the Mind in the Eyes Test (RMET), an advanced theory-of-mind test. Here we report a replication attempt by 3 independent research groups, with 792 participants randomly assigned to 1 of 4 conditions (literary fiction, popular fiction, nonfiction, and no reading). In contrast to Kidd and Castano (2013), we found no significant advantage in RMET scores for literary fiction compared to any of the other conditions. However, as in Kidd and Castano and previous research, the Author Recognition Test, a measure of lifetime exposure to fiction, consistently predicted RMET scores across conditions. We conclude that the most plausible link between reading fiction and theory of mind is either that individuals with strong theory of mind are drawn to fiction and/or that a lifetime of reading gradually strengthens theory of mind, but other variables, such as verbal ability, may also be at play. (PsycINFO Database Record

Correction to: 2015 ACC/AHA/HRS Guideline for the Management of Adult Patients With Supraventricular Tachycardia: Executive Summary: A Report of the American College of Cardiology/American Heart Association Task Force on Clinical Practice Guidelines and the Heart Rhythm Society.

Correction to: 2015 ACC/AHA/HRS Guideline for the Management of Adult Patients With Supraventricular Tachycardia: Executive Summary: A Report of the American College of Cardiology/American Heart Association Task Force on Clinical Practice Guidelines and the Heart Rhythm Society.

Aesthetic movements of embodied minds: between Merleau-Ponty and Deleuze

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind (2005, Oxford & New York: Clarendon Press) the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience.

The New Contentism

The New Contentism