Moral Rhetoric in Twitter: a Case Study of the U.S
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When Do People Trust Their Social Groups?
When Do People Trust Their Social Groups? Xiao Ma1y, Justin Cheng2, Shankar Iyer2, Mor Naaman1 {xiao,mor}@jacobs.cornell.edu,{jcheng,shankar94}@fb.com 1Jacobs Institute, Cornell Tech, 2Facebook y Work done while at Facebook. ABSTRACT 1 INTRODUCTION Trust facilitates cooperation and supports positive outcomes Trust contributes to the success of social groups by encour- in social groups, including member satisfaction, information aging people to interpret others’ actions and intentions fa- sharing, and task performance. Extensive prior research has vorably, thereby facilitating cooperation and a sense of com- examined individuals’ general propensity to trust, as well as munity [5, 22, 32, 54, 60, 76]. In groups, trust increases mem- the factors that contribute to their trust in specific groups. ber satisfaction and task performance [79], reduces con- Here, we build on past work to present a comprehensive flict [32, 79], and promotes effective response to crisis [52]. framework for predicting trust in groups. By surveying 6,383 Previous research has examined how different factors such Facebook Groups users about their trust attitudes and ex- as size [13, 21, 85], group cohesiveness [37], and activity [79] amining aggregated behavioral and demographic data for may impact people’s trust in their social groups, both on- these individuals, we show that (1) an individual’s propensity line [38] and offline [67]. However, previous studies tend to trust is associated with how they trust their groups, (2) to be small in scale, limited to specific contexts (e.g., online smaller, closed, older, more exclusive, or more homogeneous marketplaces), or only consider a specific type of group (e.g., groups are trusted more, and (3) a group’s overall friendship- organizations [18, 49]). -
"Fictionalism: Morality and Metaphor"
- 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem. -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Group Cohesion: Relationships with Work Team Culture
Psicothema 2009. Vol. 21, nº 1, pp. 97-104 ISSN 0214 - 9915 CODEN PSOTEG www.psicothema.com Copyright © 2009 Psicothema Group cohesion: Relationships with work team culture José C. Sánchez and Amaia Yurrebaso Universidad de Salamanca The aim of this study was to examine the relationships between group cohesion and the perceived culture and desired culture of work teams. Two separate studies were carried out with a time interval of one year. The first study had a sample of 50 work teams belonging to different organizations and the second study had a sample of 75 work teams. We used Lindell’s index of agreement to estimate the culture and cohesion variables. Multiple and hierarchical regression analysis in both studies confirmed our initial hypothesis, showing that perceived and desired culture were positively related to group cohesion, and that culture gap had a negative association with cohesion. To a lesser extent, control variables such as job tenure and gender had a positive relationship with cohesion. The implications of these results are discussed along with the importance of considering the group level as analysis. Cohesión grupal: relaciones con la cultura de los equipos de trabajo. El objetivo de este estudio fue examinar las relaciones entre cohesión grupal y la cultura percibida y deseada de los equipos de tra- bajo. Se realizaron dos estudios independientes con un intervalo de un año entre ambos. El primer es- tudio lo integraron 50 equipos de trabajo pertenecientes a diferentes organizaciones y el segundo estu- dio tuvo una muestra de 75 equipos de trabajo. Para estimar las variables de cultura y cohesión utilizamos el índice de acuerdo de Lindell. -
The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved. -
Group Cohesiveness in the Industrial Work Group
Group Cohesiveness in the Industrial Work Group by STANLEY E. SEASHORE SURVEY RESEARCH CENTER INSTITUTE FOR SOCIAL RESEARCH UNIVERSITY OF MICHIGAN—ANN ARBOR 1954 The Institute for Social Research oi the University of Michigan is engaged in basic and applied research Ln the social sciences. The Institute has two main research units. The Survey Research Center is concerned with the Foreword application of sample survey methods to the study of eco• nomic behavior, human relations in organizations, and public attitudes and behavior in relation to public Issues. The Research Center for Group Dynamics studies the be• This Investigation Is one of a series conducted havior of people in groups. The research Is conducted ln within the Human Relations Program of the Survey Research industry, education, government and community life as well as in the laboratory, in an effort to discover the de• Center, Institute for Social Research. This program of research terminants of behavior, of group effectiveness and of human has as its aim the exploration of social and psychological fac• satisfactions. tors related to the effectiveness of organizations. The word Inquiries regarding the Institute and its research "program" is used with its full meaning and the study described program may be addressed to the Director of the Institute. here is but one in a sequence of closely related studies con• ducted over a span of seven years. I am particularly Indebted to Dr. Rensis Likert, Director of the Institute, and to Dr. Robert L. Kahn, Director of the Pro• gram, who provided the data for the study, encouraged the work, and made available the substantial resources, facilities and personal consultation needed for a study of this kind. -
Genre and Subgenre
Genre and Subgenre Categories of Writing Genre = Category All writing falls into a category or genre. We will use 5 main genres and 15 subgenres. Fiction Drama Nonfiction Folklore Poetry Realistic Comedy Informational Fiction Writing Fairy Tale Tragedy Historical Persuasive Legend Fiction Writing Tall Tale Science Biography Fiction Myth Fantasy Autobiography Fable 5 Main Genres 1. Nonfiction: writing that is true 2. Fiction: imaginative or made up writing 3. Folklore: stories once passed down orally 4. Drama: a play or script 5. Poetry: writing concerned with the beauty of language Nonfiction Subgenres • Persuasive Writing: tries to influence the reader • Informational Writing: explains something • Autobiography: life story written by oneself • Biography: Writing about someone else’s life Latin Roots Auto = Self Bio = Life Graphy = Writing Fiction Subgenres • Historical Fiction: set in the past and based on real people and/or events • Science Fiction: has aliens, robots, futuristic technology and/or space ships • Realistic Fiction: has no elements of fantasy; could be true but isn’t • Fantasy: has monsters, magic, or characters with superpowers Folklore Subgenres Folklore/Folktales usually has an “unknown” author or will be “retold” or “adapted” by the author. • Fable: short story with personified animals and a moral Personified: given the traits of people Moral: lesson or message of a fable • Myth: has gods/goddesses and usually accounts for the creation of something Folklore Subgenres (continued) Tall Tale • Set in the Wild West, the American frontier • Main characters skills/size/strength is greatly exaggerated • Exaggeration is humorous Legend • Based on a real person or place • Facts are stretched beyond nonfiction • Exaggerated in a serious way Folklore Subgenres (continued) Fairytale: has magic and/or talking animals. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
“The Right Use of Reason”: Fairy Tales, Fantasy, and Moral Education in Peter Parley's Annual
Brigham Young University Masthead Logo BYU ScholarsArchive Undergraduate Honors Theses 2019-03-27 “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub_uht BYU ScholarsArchive Citation Topham, Taylor, "“THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL" (2019). Undergraduate Honors Theses. 55. https://scholarsarchive.byu.edu/studentpub_uht/55 This Honors Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Honors Thesis “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL by Taylor Topham Submitted to Brigham Young University in partial fulfillment of graduation requirements for University Honors English Department Brigham Young University April 2019 Advisor: Leslee Thorne-Murphy Honors Coordinator: John Talbot ABSTRACT “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham English Department Bachelor of Arts This thesis discusses the relationship between the start of the Golden Age of Children’s Literature and the educational policy and philosophy changes that took place in mid- to late-19th century England. Some scholars have argued that the reasons for the rise in fantasy literature that characterized the Golden Age of Children’s Literature are primarily economic, while others find philosophical and cultural precedents for the movement toward fantasy. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Poetry As Moral Statement (1937) Yvor Winters (1900-1968) The
Poetry as Moral Statement (1937) Yvor Winters (1900-1968) The poem is a statement in words about a human experience. Words are primarily conceptual, but through use and because human experience is not purely conceptual, they have acquired connotations of feelings. The poet makes his statement in such a way as to employ both concept and connotation as efficiently as possible. The poem is good in so far as it makes a defensible rational statement about a given human experience (the experience need not be real but must be in some sense possible) and at the same time communicate the emotion which ought to be motivated by that rational understanding of that experience. This notion of poetry, whatever its defects, will account both for the power of poetry and of artistic literature in general on its readers and for the seriousness with which the great poets have taken their art.... Rhythm, for reasons which I do not wholly understand, has the power of communicating emotion; and as a part of the poem it has the power of qualifying the total emotion... We have on the one hand the rational structure of the poem, the orderly arrangement and progression of thought; and we have on the other hand a kind of rhythm broader and less easily measurable than the rhythm of the line--the poem exists in time, the mind proceeds through it in time, and if the poet is a good one he takes advantage of this fact and makes the progression rhythmical. These aspects of the poem will be efficient in so far as the poet subordinates them to the total aim of the poem... -
Cohesion in Online Groups
Cohesion in online groups P. Rogers & M. Lea Dept. Psychology, University of Manchester, UK Abstract Groups are traditionally defined in terms of the interpersonal bonds that exist between group members and thus cohesion is based on the strength of those bonds. The transition of this definition of the group onto online groups leads to attempts to emulate face to face behaviour through presentation of group member pictures, video and detailed personal descriptions. However, this can be problematic due to reduced bandwidth and individual cues necessary for supporting interpersonal behaviour. A social identity approach to groups, in contrast, defines the group in terms of group members' cognitive representation of the group identity, rather than interpersonal bonds. From this perspective cohesion is defined in terms of the strength and salience of the group identity and is not dependent on the transference of interpersonal cues, or constrained by group size. Indeed, interpersonal information can act to the detriment of group cohesion. This counter-intuitive approach to cohesion in online groups has a number of implications in terms of group development and group behaviour in online groups. Two longitudinal field studies of computer-mediated collaborative learning groups investigated these issues. Cohesion in the groups was achieved through the application of this approach to both the design of the group tasks and communication environment, and results showed amongst other things, that cohesion was determined by identification with the group, and that this identification was associated with increased accountability, decreased conflict and, furthermore, positively influenced group productivity (measured by the group mark) through group member prototypicality.