Thesis (MA (African Languages))--University of Stellenbosch, 2007. / This study explores semantic analysis of motion verb-hamba in IsiXhosa. In chapter 1 I have stated the aim of the study. I have discussed properties related to the lexical semantic analysis of the verb-hamba as well as Pustejovsky’s theory of the Generative Lexicon. The theoretical framework and the organization of study are also discussed in this chapter. Chapter 2 addresses in more detail the type system for semantics. A generative theory of the lexicon includes multiple levels of representation for different types of lexical information needed. These levels include Argument Structure, Event Structure, Qualia Structure and Lexical Inherent Structure. In this chapter there is a more detailed structure of the qualia and the role they play in distributing the functional behavior of words and phrases in composition. In chapter 3 I have examined the lexical semantic analysis of the verb-hamba to account for the range of selectional properties of the NP phrase subject argument of the verb-hamba and various interpretations that arise in terms of composition with its complement arguments. The polysemous behavior of the verb-hamba is examined in sentence alternation constructions with respect to the properties of the event structure. I have also investigated the lexical representation in terms of argument structure and the event structure of the verb-hamba in different sentences. Chapter 4 is the conclusion, summarizing the findings of all the previous chapters in this study on lexical semantic analysis of the motion verb-hamba in IsiXhosa. This is followed by word lists that contain meanings of words in the context in which they are used.

Der Beitrag geht (in Abschnitt I) von zwei allgemeinen Ununterrichtbarkeitsthesen zu der Frage aus, ob und wie ‚Klassik‘ in der Schule unterrichtet werden kann, und entfaltet einen Lösungsansatz aus einer Perspektive ästhetisch-kultureller Edukation, der es darum geht, verschiedene musikalische Praxen erfahrbar zu machen. Die Grundannahmen dieser Perspektive werden in Abschnitt II zusammenfassend dargstellt. Das Wort „außeraustralisch“ soll eine kulturelle Außenperspektive auf die europäische Klassik signalisieren. Im Zentrum des Beitrags (Abschnitt III) steht eine „didaktische Interpretation klassisch-romantischer Musikkultur“, der es um die Formulierung charakteristischer Qualitäten dieser Musik bzw. Musikkultur geht. Als exemplarisch für deren Nachvollziehen erscheint eine Entwicklung von informeller über konventionalisierte und halböffentliche Hausmusik hin zum Konzert. Die entsprechenden Erfahrungsqualitäten bilden den Angelpunkt für die Gestaltung der Unterrichtspraxis. Mit drei abschließenden Inszenierungsskizzen für charakteristische Qualitäten (Abschnit IV) macht der Text einen Schritt weg von der wissenschaftlich geleiteten Analyse hin zur ästhetisch interpretierenden Gestaltung. Insgesamt stellt der Beitrag am Beispiel der Klassik exemplarisch ein allgemeines musikpädagogisches Herangehen dar. / The article starts (in part I) from two theses about the impossibility of teaching classical music in the classroom and shows a solution to do so. Part II outlines the actual perspective, which is based on music and music education as and for aesthetical and cultural practice. The word “außeraustralisch” (out of australia) indicates a perspective at classical music from a foreign point of view. The crucial part III claims “characteristic qualities” as the main reference point to stage musical practice in the classroom and developes characteristical qualities of classical-romantic music in a “didactic interpretation of classical-romantic culture of music”. The development from an informal to a conventionalized and half public Hausmusik up to public concerts appears to be generic to comprehend special attitudes and concepts of this kind of music. Part IV goes one step further towards an aesthetical interpretation of classical music as it creates three drafts, which outline how to stage music in such a way, that makes characteristic qualities of classical music perceptible in the classroom. Altogether the article uses the classical music in the classroom as an exemple for a general music pedagogical approach.

No description available.

This dissertation explores the connections that exist between Gertrude Steins late nineteenth-century psychological studies at Harvard University, her fin-de-sicle brain research at the Johns Hopkins Medical School, and her early twentieth-century cubist writings. This study is important to neuraesthetic researchers, because it appears that Stein produced a secret series of cubist brain maps from approximately 1912 to 1935, and then published her first explicit brain map in _The Geographical History of America or the Relation of Human Nature to the Human Mind_, in 1936. The cubist brain maps that Stein produced during this period can be conceptualized as evolving, neuraesthetic writing practices that reflect her complex, scientific insights and her varied, artistic associations. One of the primary differences between Steins cubist writings and those of her literary peers is that she deploys the cubist painting strategies of Pablo Picasso, for the purpose of portraying the human central nervous system. In addition to exploring the scientific meanings of Steins multidimensional, performative and introspective cubist puns, my study examines how Stein uses color in her cubist writings, as a means of anticipating the visual effects of future scientific discoveries and connectivity maps, such as the Brainbow system, which uses the fluorescent protein from the jellyfish Aequorea Victoria to label the central nervous systems of genetically modified mice with distinguishable colors. Also, this project examines how Stein uses color words and other simple devices from the English language to illustrate the brains cellular structures, neural networks and neuroanatomical features. This studys primary aim is to explore how Steins dissociative writings function within western culture as neuraesthetic modes of masterpiece creation, brain representation and consciousness translation. Through the serial production of cubist brain maps, Stein posed important questions about the modern science of the reading brain. By developing allegorical methods of brain representation, Stein contributes to the western practice of neuroesthetics by foregrounding the role that creative writing plays in the production of imaginary, laboratory practices and imaginative, brain imaging technologies.

No description available.

Der Beitrag geht (in Abschnitt I) von zwei allgemeinen Ununterrichtbarkeitsthesen zu der Frage aus, ob und wie ‚Klassik‘ in der Schule unterrichtet werden kann, und entfaltet einen Lösungsansatz aus einer Perspektive ästhetisch-kultureller Edukation, der es darum geht, verschiedene musikalische Praxen erfahrbar zu machen. Die Grundannahmen dieser Perspektive werden in Abschnitt II zusammenfassend dargstellt. Das Wort „außeraustralisch“ soll eine kulturelle Außenperspektive auf die europäische Klassik signalisieren. Im Zentrum des Beitrags (Abschnitt III) steht eine „didaktische Interpretation klassisch-romantischer Musikkultur“, der es um die Formulierung charakteristischer Qualitäten dieser Musik bzw. Musikkultur geht. Als exemplarisch für deren Nachvollziehen erscheint eine Entwicklung von informeller über konventionalisierte und halböffentliche Hausmusik hin zum Konzert. Die entsprechenden Erfahrungsqualitäten bilden den Angelpunkt für die Gestaltung der Unterrichtspraxis. Mit drei abschließenden Inszenierungsskizzen für charakteristische Qualitäten (Abschnit IV) macht der Text einen Schritt weg von der wissenschaftlich geleiteten Analyse hin zur ästhetisch interpretierenden Gestaltung. Insgesamt stellt der Beitrag am Beispiel der Klassik exemplarisch ein allgemeines musikpädagogisches Herangehen dar. / The article starts (in part I) from two theses about the impossibility of teaching classical music in the classroom and shows a solution to do so. Part II outlines the actual perspective, which is based on music and music education as and for aesthetical and cultural practice. The word “außeraustralisch” (out of australia) indicates a perspective at classical music from a foreign point of view. The crucial part III claims “characteristic qualities” as the main reference point to stage musical practice in the classroom and developes characteristical qualities of classical-romantic music in a “didactic interpretation of classical-romantic culture of music”. The development from an informal to a conventionalized and half public Hausmusik up to public concerts appears to be generic to comprehend special attitudes and concepts of this kind of music. Part IV goes one step further towards an aesthetical interpretation of classical music as it creates three drafts, which outline how to stage music in such a way, that makes characteristic qualities of classical music perceptible in the classroom. Altogether the article uses the classical music in the classroom as an exemple for a general music pedagogical approach.

La reconnaissance des émotions dans la musique est un challenge industriel et académique. À l’heure de l’explosion des contenus multimédias, il nous importe de concevoir des ensembles structurés de termes, concepts et métadonnées facilitant l’organisation et l’accès aux connaissances. Notre problématique est la suivante : est-Il possible d'avoir une connaissance a priori de l'émotion en vue de son élicitation ? Autrement dit, dans quelles mesures est-Il possible d'inscrire les émotions ressenties à l'écoute d'une oeuvre musicale dans un régime de métadonnées et de bâtir une structure formelle algorithmique permettant d'isoler le mécanisme déclencheur des émotions ? Est-Il possible de connaître l'émotion que l'on ressentira à l'écoute d'une chanson, avant de l'écouter ? Suite à l'écoute, son élicitation est-Elle possible ? Est-Il possible de formaliser une émotion dans le but de la sauvegarder et de la partager ? Nous proposons un aperçu de l'existant et du contexte applicatif ainsi qu'une réflexion sur les enjeux épistémologiques intrinsèques et liés à l'indexation même de l'émotion : à travers lune démarche psychologique, physiologique et philosophique, nous proposerons un cadre conceptuel de cinq démonstrations faisant état de l'impossible mesure de l'émotion, en vue de son élicitation. Une fois dit à travers notre cadre théorique qu'il est formellement impossible d'indexer les émotions, il nous incombe de comprendre la mécanique d'indexation cependant proposée par les industriels et académiques. Nous proposons, via l'analyse d'enquêtes quantitatives et qualitatives, la production d'un algorithme effectuant des préconisationsd'écoute d’œuvres musicales. / Emotion recognition in music is an industrial and academic challenge. In the age of multimedia content explosion, we mean to design structured sets of terms, concepts and metadata facilitating access to organized knowledge. Here is our research question : can we have an a priori knowledge of emotion that could be elicited afterwards ? In other words, to what extent can we record emotions felt while listening to music, so as to turn them into metadata ? Can we create an algorithm enabling us to detect how emotions are released ? Are we likely to guess ad then elicit the emotion an individual will feel before listening to a particular song ? Can we formalize emotions to save, record and share them ? We are giving an overview of existing research, and tackling intrinsic epistemological issues related to emotion existing, recording and sharing out. Through a psychological, physiological ad philosophical approach, we are setting a theoretical framework, composed of five demonstrations which assert we cannot measure emotions in order to elicit them. Then, a practical approach will help us to understand the indexing process proposed in academic and industrial research environments. Through the analysis of quantitative and qualitative surveys, we are defining the production of an algorithm, enabling us to recommend musical works considering emotion.

Diese Arbeit bewertet verschiedene Argumente, die nicht nur leugnen, dass Gehirnzustände und bewusste Zustände ein und dasselbe sind, sondern auch behaupten, dass eine solche Identität unverständlich bleibt. Ich argumentiere, dass keiner der Ansätze einen Physikalismus unterminieren, da sie für ihre stillschweigenden Annahmen über die Verbindung zwischen Arten der Präsentation und ihrer Erklärung keine direkte oder unabhängige Begründung liefern. Meiner Ansicht nach sollte die Intelligibilität psychologischer Identität nicht ausschließlich auf einer Meinungsanalyse basieren. Der Haupteinwand sollt dann sein, warum man annehmen sollte, dass eine vollständig intelligible Erklärung auf Beschreibungen der kausalen Rollen als Modi von Präsentationen beruhen sollte. Ich schlage dazu vor, den Blick auf “psychologische Konzepte” zu werfen. Psychologische Konzepte sind Konzepte, die eine Beschreibung von funktionalen Rollen benutzen aber von Erfahrungsqualitäten handeln. Ich schlage vor, diese in Qualitätsraum-Modellen zu analysieren um aufzuklären, warum von phänomenalen Konzepten erwartet wird, dass diese sich durch Beschreibungen der kausalen bzw. funktionalen Rollen auf etwas beziehen sollten. Der Qualitätsraum soll hier verstanden werden als multidimensionaler Raum, der aus mehreren Achsen relativer Ähnlichkeit und Unterschieden in den Anordnungsstrukturen verschiedener Modalitäten bewusster Erfahrung besteht. In meinem Vorschlag ist es möglich, dass einige Achsen des Qualitätsraumes selbst aus ihrem eigenen Qualitätsraum bestehen, so dass wir in die Beschreibungen der funktionalen Rollen “hinein zoomen” und “heraus zoomen” können und damit klarer sehen, wie die Erklärung eines bestimmten Bewusstseinsaspekts gestaltet ist, wenn man ihn in Begriffen psychologischer Konzepte betrachtet. / This thesis evaluates several powerful arguments that not only deny that brain states and conscious states are one and the same thing, but also claim that such an identity is unintelligible. I argue that these accounts do not undermine physicalism because they don’t provide any direct or independent justification for their tacit assumptions about a link between modes of presentation and explanation. In my view intelligibility of psychophysical identity should not be based exclusively on the analysis of meaning. The main concern then should be why expect that fully intelligible explanation must be based on the descriptions of the causal roles as modes of presentation. To this effect I propose that we examine "psychological concepts". The psychological concepts are concepts that use descriptions of the functional roles but are about qualities of our experiences. I propose to analyze them in quality space models in order to unveil why phenomenal concepts are expected to refer via descriptions of the causal or functional roles. The quality space should be understood here as a multidimensional space consisting of several axes of relative similarity and differences among the structures of ordering in different modalities of conscious experience. On my proposal it is possible that some axes in the quality space consist of their own quality spaces so we could “zoom in” and “zoom out” into the descriptions of the functional roles and see more clearly what the explanation of certain aspects of consciousness looks like when thought of in terms of psychological concepts.

Topic of this thesis is Dennett's criticism of the philosophical notion of qualia. First, the notion of qualia and the meaning it acquires within philosophy are introduced. Then, four thought experiments are presented to serve as an argument in favor of existence of qualia along with Dennett's reaction to these thought experiments. After that, Dennett's criticism of qualia as immediately apprehensible, ineffable, intrinsic and private properties of conscious mental states is introduced while one of the most common objections to this criticism is emphasized - Dennett's conception of qualia is too narrow and we can preserve it in a moderate way. Subsequently, the thesis outlines such a modest concept - the concept of phenomenal consciousness. This thesis attempts to show that there is no place for phenomenal consciousness in Dennett's heterophenomenology and Multiple Drafts model and that Dennett is as skeptical about this term as he is about the notion of qualia. In the end, the thesis asks the question whether it is really necessary to give up the concept of phenomenal consciousness if we want to study consciousness scientifically - from the third-person point of view.

Jakub Mihálik: Consciousness in Nature. A Russellian Approach Abstract: This thesis attempts to provide a philosophical answer to the question of how phenomenal consciousness, or experience, can exist in the physical world, i.e. in the world as it is described by science. The thesis has three parts: In the first part (chapter 1) I explicate the concept of phenomenal consciousness and contrast it with other concepts of consciousness common in the literature. Moreover, I suggest that the project pursued in this thesis can be naturally viewed as a part of the more general project of trying to find a stereoscopic view of man, taken by Wilfrid Sellars to be a crucial task for contemporary philosophy. In the second part of the thesis (chapters 2 to 4) I offer a detailed evaluation of the attempts at a materialist reduction of consciousness. While in chapter 2 I explore and critique the approach of apriori physicalism (Dennett, Lewis, Rey, etc.), in chapters 3 and 4, I focus on the more recent doctrine of a posteriori physicalism and especially its most prominent variety called the phenomenal concept strategy (Loar, Papineau, Levin, Schroer, etc.). One problem with a posteriori physicalism is that, as Nida-Rümelin, Goff and others argue, the view cannot make sense of the plausible thesis that our phenomenal...