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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Dec. 5, 2007). PDF text: 99 p. : ill. ; 5 Mb. UMI publication number: AAT 3271910. Includes bibliographical references. Also available in microfilm and microfiche formats.

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Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 96-99).

It is natural to think that in order to learn about the world from perceptual experience, a person does not need to do anything. All that is required is that she has her eyes open, or her ears unplugged, so that she can receive sensory input from without. On the basis of this input, she can form justified empirical beliefs. This way of thinking about experience is central to many philosophical views about perception. It is my contention that the approach is mistaken, and that in fact it cannot explain how perceptual experience justifies belief. This dissertation argues, in contrast, that perceiving is not something that merely happens to us, but something we do. On my view, experience is a source of justification in virtue of being an activity which aims at knowledge. In Chapter 1, I present the topic of the dissertation and provide an analytical overview. Chapter 2 discusses and criticizes John McDowell's account of perceptual experience. I argue that McDowell is faced with a dilemma, as his original account mischaracterizes perceptual experience, and his later, revised account cannot explain how perception justifies empirical belief. The solution is to deny a claim common to both: that in experience we are passive. In contrast, I argue that experiencing is a full-fledged activity that is teleologically structured. In Chapter 3, I begin to substantiate my position by drawing on Wittgenstein's rule-following considerations. Chapter 4 supplements this claim by appeal to some features of Alva Noe's enactive view of perception. The resulting account portrays experience as an activity that has knowledge as its end. This explains how experience justifies belief, for it shows how perceptual knowledge cannot but be the result of experiencing going well for one. Chapter 5 argues that perceptual activity can take different forms, varying in complexity, as one aims at knowing features of one's environment. I argue, however, that keeping track of an object is the fundamental mode of perceptual activity. I conclude the dissertation by considering two objections to my account. / Thesis (Ph.D, Philosophy) -- Queen's University, 2013-05-29 10:01:52.496

The essay investigates the visual element as seen by the audience and artist to be of greatest importance to a musicalperformance. The study was conducted in the form of a field work which included doing interviews with artists, surveys of the audience and interpretive observations of live performance. The fieldwork was conducted in three different environments in which I found myself on the spot and performed the various stages included in the field work. It was done to create a surface that could be used in an essay, and through that use this material to compare and analyze my results and in the end be able to answer my questions. I started from eight different factors which all could beexperienced visually on stage. The factors were light / colors, costumes, props, effects, stage presence, attitude / image, nervousness and dance / body language. Those factors would then be examined in the various musical performances and to be answered by the audience and performers which of those factors they considered to be of great importance or small importance when it comes to visual perception in a musical context. The result was a clear statement where two factors were considered to be most crucial for a musical performance, and a clear statement in which two factors were considered by the majority to be less important. The results demonstrate a common understanding what the artist and the audience thinks is important. A result that can act as a template for what an artist should think about regarding the visual elements before an performance. My theory is my assumption that the visual elements of musical performances can play an important or decisive role, an assumption that was strengthened by my empirical experiences at a concert visit. I wanted in this essay explore and give a clear picture of what it is that artists and audiences consider to be visually crucial for a musical context

ABSTRACT This study investigated the effects of contextual factors, participants¡¦ exposure to the target language, interlocutors¡¦ ethnicity and task language on Chinese and English speakers¡¦ perception of the speech act of apology. The data were collected from sixty English L1 speakers, 60 Chinese L1 speakers and 60 Chinese EFL speakers. They consisted of responses on and of apology to a Scaled-response Questionnaire (SRQ). The SRQ data showed both similarities and significant differences between the two L1 groups under different contextual factors. First, the two groups differed in terms of all the four context-internal factors; i.e. severity of the offense, likelihood to apologize, difficulty of the apology and the acceptability of the apology. As for the SRQ answers concerning the five context-external factors, social distance, social status, speaker gender, interlocutor gender and imposition, there were both similarities and differences between the two L1 groups. For example, both groups considered it less severe to offend strangers and were more likely to apologize to acquaintances and people of equal status. Furthermore, both groups found it more severe to offend and more difficult to apologize to male than to female interlocutors. On the other hand, cross-cultural differences were found in the perception of the severity on low imposition situations and on people of equal status and acquaintances. There were also various cross-cultural differences in the likelihood to apologize and difficulty of the apology perception ratings. Ethnicity did not yield significant results among Chinese L1s. However, low-exposure group rated severity and likelihood to apologize higher than high-exposure group did. Severity of the offense was significantly higher and the difficulty of the apology was significantly lower when the participants were using Chinese L1. When compared with the high exposure group, low exposure group¡¦s perception ratings were higher in the severity of the offense, likelihood to apologize and acceptability of the apology. The results may infer that ethnicity and task language play important roles in learners¡¦ perceptions. Future researches could focus on the relationship between learners¡¦ perception and production to broaden and deepen the understanding of learner language.