bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Hirschkop Ken 
Published: May 2019

Abstract
Chapter 1 focuses on the distinctiveness of the ‘linguistic turns’ of early twentieth-century Europe, differentiating them from nineteenth-century work on language and insisting on the need to think of these multiple turns as a whole, as a constellation across Europe. That there is such a constellation, demanding our attention, is the first of the book’s three organizing claims. The second is that language draws such a crowd because crowds have become a problem: in the linguistic turns of the early twentieth century, language is a metonym for problems of social order and social division, democracy and consent, nationality and difference. Hence the third claim: that the distinguishing feature of these linguistic turns is a commitment to some version of ‘language as such’, a force or structure within language that can provide the vitality, the order, the lucidity, or some combination of these, necessary to cure language of its present ills.
Setting the Stage
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter sets the stage by introducing the field of music and emotion. It addresses the following questions: Why do musical emotions matter? Why did Freud not enjoy music? Studies show that in both ‘primitive’ cultures and modern society, a considerable amount of time is spent on singing, music, and dance. And it is not just time: According to musicologist David Huron (2001), people in North America spend more money on music than on prescription drugs. There are a number of theories about the possible origin and function of music, for instance that music originally served a purpose in parent-infant bonding, language acquisition, work coordination, transmission of cultural knowledge, sexual courtship, or social coherence. There are also theories which claim that music served no purpose at all.
Music, Experience, and Affect
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter explores the relationship between emotions and music. It argues that of all the various affective states that music can arouse, none is more important than the emotions. To the degree that music affects moods, these are less likely than emotions to be remembered (since intense affective reactions are remembered better), and will have a weaker impact on subsequent behaviour. The chapter highlights a distinction of key importance for the field, which may be traced to ancient Greece and is encountered in both Western and non-Western cultures. On the one hand, a person may simply perceive (or recognize) a certain emotion ‘expressed’ or ‘represented’ in the music. On the other hand, a person may actually feel an emotion.
What is Meant by Emotional Expression?
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter sets out the aims and objectives of Part 2 of this book, which is to take a closer look at a phenomenon that is almost universally acknowledged across the disciplines — namely, that music is heard as expressive of emotions by listeners. It addresses the following questions: Why is music perceived as expressive of emotions? Can musicians actually convey emotions to listeners? Which emotions does music express? How are the different emotions expressed? What is the role of the performer? Are there cross-cultural similarities in how the emotions are expressed? How is emotional expression related to the human voice? Can a computer express emotions? How is music able to convey complex emotions? Why are some authors critical of regarding music as the expression of emotions?
Breaking the Code
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
Having established that expression and perception of emotions are important phenomena in music, this chapter takes a closer look at how psychological processes actually work. A first step is to consider the musical features. Which are the relevant features? How do they co-vary with specific emotion categories and dimensions? How are they modulated by musical style, culture, and historical context? It is a recurring notion from Ancient Greece that there are systematic relationships between musical structure and expression of emotions. Modern studies, however, differ from previous treatises by using psychological experiments to uncover ‘causal relationships’ between musical features and perceived emotions. The chapter focuses on the five emotions most frequently studied thus far (sadness, happiness, anger, tenderness, and fear). It also considers how musical features correlate with broader emotion dimensions, such as tension, arousal, and valence.
Further Layers
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter first reviews the notions of intrinsic coding and associative coding. It then considers how these may be combined to produce musical expression of emotions, both basic and complex emotions. It suggests that there are some prototypical musical emotions frequently expressed in music, which are linked to the ‘functions’ of music in our evolutionary past. It proposes a list of seven ‘prototypical’ emotions which are expressed often in music: happiness (festive songs), sadness (mourning), love-tenderness (lullabies and tender love songs), anxiety (existential fears in life), nostalgia (social/cultural identity), anger (protest and war songs), spirituality-solemnity (religion), and sexual desire (mating).
Deviation from the Exact
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter focuses on performance. It asks: what does it really mean to perform a piece of music? What is it that a performer is ‘adding’ to make a musical score ‘come alive’, and sound musical and expressive? It argues that expression derives from five main sources, collectively referred to as the GERMS model: generative rules (G) that mark the structure in a musical manner; emotional expression (E) that serves to convey emotions to listeners; random fluctuations (R) that reflect human limitations in motor precision; motion principles (M) which hold that tempo changes should follow natural patterns of human movement, such as gestures; and stylistic unexpectedness (S) that reflects a performer's deliberate attempt to deviate from stylistic expectations regarding performance conventions to add tension and unpredictability to the performance.
The Prevalence of Emotional Reactions
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter looks at the prevalence of specific emotions. The issue was initially mostly a matter of speculation among researchers — often based on personal experience, and sometimes slipping into the treacherous territory of debating what people ought to experience, rather what they actually do experience. However, over the last ten years or so, a large number of empirical studies have addressed the question empirically. The results accumulated to date suggest the following three conclusions: music arouses mostly positive emotions; music may arouse both basic and complex emotions; and certain emotions occur more frequently and consistently than others.
How does Music Arouse Emotions?
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers the question of how music arouses emotions. It is a question with far-reaching implications for other issues about music and emotion. Which emotions does music arouse? Which brain regions are involved in this process? When do musical emotions develop? Are they universal or culture-specific? What is the relationship between perceived and aroused emotions? Are musical emotions somehow unique? The answers to these questions are all linked to the ‘how’ question: They cannot be answered satisfactorily without understanding the psychological processes through which the emotions come into being. The chapter suggests that previous attempts to explain musical emotions have succeeded to different degrees in this task. These attempts can be divided into three categories, referred to ‘the good, the bad, and the ugly’.
Mirroring the Expression
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers a psychological mechanism that can arouse musical emotions called contagion. Contagion is something that people have experienced numerous times in everyday life — outside a musical context. For instance, some people can feel depressed after a conversation with someone who is depressed. Emotional contagion refers to a process whereby an emotion is induced by a piece of music because an independent region of the brain reacts to certain acoustic features as if they were coming from a human voice that expresses an emotion, which leads the listener to mirror the emotional expression internally. The contagion mechanism is strongly related to the emotional expression of the music.
Blast from the Past
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers the psychological mechanism known as episodic memory. Episodic memory is defined as a process whereby an emotion is induced in a listener because the music evokes a personal memory of a specific event in the person's life; when the memory is evoked, so is also the emotion associated with the event. The emotion can be intense, perhaps because the physiological response pattern to the original event is stored in memory, together with the experiential content. Episodic memory requires detached mental representations (i.e. representations of events or objects that are not currently sensed in the external world) and a sense of self, which ties together the individual episodes. Episodic memory is also an important aspect of what it means to be human.
Seeing in the Mind’s Eye
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers the psychological mechanism known as visual imagery. Visual imagery is defined as a process whereby an emotion is evoked in the listener because he or she conjures up inner images while listening to the music. Images might come about in three ways. First, mental imagery may occur when listeners conceptualize the musical structure through a nonverbal mapping between the metaphorical ‘affordances’ of the music and image-schemata grounded in bodily experience. A second type of imagery might occur when a listener brings to a listening experience certain types of knowledge or myths about the circumstances surrounding the creation of the piece or about the artist in question. Thirdly, a music listener can create images based on how certain aspects of the music mirror aspects of the listener's current life experience.
Aesthetics
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter sets out the aims and objectives of Part 4 of this book, which is to look closer at the nature of aesthetic judgment. It addresses questions such as: are listeners' judgments of music reliable? What criteria do listeners rely on in such judgments? Are there individual differences in how these criteria are weighted? Could individual differences be explained by expertise? Which aesthetic criteria tend to be most influential? How are aesthetic judgments affected by contextual factors? How do aesthetic judgment, preference, and emotion relate to one another? The chapter then discusses what a working definition of aesthetic response may look like.
Traditional Approaches to Aesthetics
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter focuses on empirical aesthetics, which can be regarded as one of the oldest subfields in psychology. The most important contribution to the domain was made by the scholar Daniel Berlyne, who launched the ‘New Empirical Aesthetics’. In accordance with the prevailing ‘Zeitgeist’ of the 1960s, Berlyne focuses mainly on the notion of autonomic arousal as opposed to discrete emotions; he notes that art influences its perceivers mainly by manipulating their arousal. Berlyne further suggests that listeners' preferences are related to arousal in the form of an inverted U-shaped curve, sometimes referred to as the Wundt curve. The chapter then discusses what empirical aesthetics has contributed to the understanding of aesthetic responses to music.
What’s Special?
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers the notion of aesthetic attitude. It asks: how can we be sure that there is such a thing as an aesthetic attitude? Is there evidence that our perception of an event or object can change depending on the attitude we adopt towards it, or that there is a change in brain activity? Few music psychologists have adopted the position that aesthetic responses are distinct or that they involve an aesthetic attitude. Therefore, to investigate these notions in more detail, and to understand the kind of perceptual dimensions that may come into play, the chapter turns to a neighbouring field for guidance, i.e. philosophical aesthetics.
A Novel Approach Towards Aesthetic Judgment
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter considers a more complete description of the judgment process, in order to pave the way for the explanation of how aesthetic judgments may produce both preferences and emotional states. It proposes a novel approach that takes philosophical aesthetics as its point of departure — but that adopts a descriptive (as opposed to normative) and empirical (as opposed to speculative) perspective, and that takes individual differences explicitly into consideration, instead of ignoring them. A preliminary psychological model is needed to guide the exploration. Aesthetic judgment is regarded as one of the psychological mechanisms through which music may arouse emotions. Thus, before describing the model, the chapter situates the mechanism within the broader BRECVEMA framework.
Aesthetics and Affect in Broader Perspective
Authors: Juslin Patrik N. 
Published: May 2019

Abstract
This chapter broadens the perspective and discuss some questions raised by the model outlined in Chapter 30. Are aesthetic judgments reliable? Do listeners agree in their ratings of pieces of music? How is aesthetic judgment influenced by the social context? What role does music preference play in emotional responses? Should we distinguish between utilitarian and aesthetic uses of music? To address these issues, there is a need to measure aesthetic judgments using a statistical technique called multiple regression analysis. Judgment analysts use multiple regression models to capture how individual raters combine multiple differentially-weighted bits of information (‘cues’) to arrive at an overall judgment.
‘Amphibious Agents’
Authors: Davey Jennifer 
Published: May 2019

Abstract
By the mid nineteenth century, the terms ‘female diplomacy’ and ‘female diplomat’ had begun to creep into contemporary usage, as women sought to exert influence in international politics. This chapter places Mary within this wider context of female diplomatic activity and focuses on her role as an agent of international politics. It examines her involvement in international affairs, considering her connections with diplomats, ambassadors, and foreign politicians. It explores two connected facets of her activities as a diplomatic agent: her role in the dissemination of news and intelligence and her function as an advisor. It also explores Mary’s intellectual ideas about international affairs, and her opinions on key diplomatic developments. As this chapter will suggest, incorporating the activities of diplomatic women into the narrative of international affairs forces us to think afresh about the types of sources used to construct diplomatic history, as well as the nature of nineteenth-century diplomatic life itself.
‘I should be open to the still graver charge of betraying H. M. Govt.’
Authors: Davey Jennifer 
Published: May 2019

Abstract
In the months leading up to the Christmas of 1877, a series of rumours began to gain traction in political society. At their heart, they all had the same kernel—that details of cabinet discussions were being made known to the Russian Government in St Petersburg—and they implicated and involved a wide range of political society, from the Prime Minister to civil servants, ambassadors to the press. By Boxing Day, the rumours had morphed into something more damaging. The Queen, through her chaplain, the Dean of Windsor, accused Mary of leaking government secrets to her friend the Russian Ambassador. While little scholarly attention has been paid to the role rumour and gossip played in political society, public men, as Trollope warned, ‘felt horror at the thought of being made the subject of common gossip and public criticism’. This chapter charts the origins of and journeys these rumours took through political society and considers their implications for Mary’s political reputation.
Introduction: Aristocratic women and Victorian political culture
Authors: Davey Jennifer 
Published: May 2019

Abstract
This introductory chapter examines why historians have often overlooked the pivotal role Lady Mary Derby played in mid-Victorian politics. It argues that, despite the processes of political reform, the Victorian aristocracy still retained their political status. It explores how this status combined with particular features of political culture to help facilitate the political careers of aristocratic women. As such, it suggests that by paying close attention to Mary’s activities, we are afforded a fuller picture of Victorian political culture than might otherwise be the case. It then considers Victorian understandings of political femininity, exploring how contemporaries sought to explain, delineate, and confine female political influence. Finally, this chapter closes with an outline of the chapters that make up the rest of the book.
Introduction
Authors: Stecker Robert 
Published: May 2019

Abstract
This chapter provides an overview of the book. It includes a chapter-by-chapter summary, a sketch of its central concepts, especially aesthetic value and artistic value, and an explanation of the importance of studying these concepts. It identifies the sense in which both the values mentioned above are universal human values. The chapter concludes with a discussion of value as a general notion. Aesthetic value is universal in the sense that most people are motivated to seek it out and that this desire can be fulfilled by a wide array of types of human experience. Art is universal because one will find painting, sculpting, ceramics, poetry, storytelling, music, dance in every culture that exists or has existed. If there are exceptions, there are very few. It is important to study these values because their universality indicates their great significance in our lives. But an equally important theme explores the way the aesthetic intersects with other values—especially ethical, cognitive, and functional ones. No important appreciative context or practice is completely centered on a single value, and such contexts can only be fully understood in terms of a plurality of values.
Two Definitions of Artistic Value
Authors: Stecker Robert 
Published: May 2019

Abstract
This chapter compares two definitions of artistic value that accommodate its second order, pluralistic nature. The first, the composite view, defines this value in terms of the evolving functions of central art forms. The second, the buck-passing view, defines artistic value in terms of art forms (‘arts’) but instead of doing so by appealing the functions of artworks, it does so more directly in terms of ‘value of work as a k,’ for example, value of a work as a painting. The chapter argues that the chief objections to each definition can be answered. It concludes by assessing the comparative strengths and liabilities of each approach, but the main message is that there are multiple resources for sustaining a pluralistic approach to artistic value.
Sharing the Global Emissions Budget
Authors: Blomfield Megan 
Published: May 2019

Abstract
This chapter concerns how the global emissions budget should be shared, critiquing the equal per capita emissions view (EPC). First, it is explained how theorists have used claims about natural resource rights to formulate the atmospheric commons argument for EPC. Then, drawing on the assessment reports of the Intergovernmental Panel on Climate Change and Elinor Ostrom’s work on common-pool resources, it is shown that these arguments invoke a misleading analysis of climate change as a global commons problem. Accurate understanding of how climate change results from overuse of a global commons suggests that proponents of the commons argument for EPC overlook potential territorial claims to the climate sink. Two options for EPC theorists who wish to maintain the view in the face of this critique are identified, but both turn out to necessitate deeper engagement with the question of how rights to the world’s resources should be assigned.
Global Justice and Natural Resources
Authors: Blomfield Megan 
Published: May 2019

Abstract
This chapter starts by looking at what natural resources are and their place in a theory of justice. It identifies two forms that claims to natural resources tend to take: general claims and particular claims. General claims are then used to formulate a simple argument to show that natural resources are appropriate objects of egalitarian justice, because they are the subject of equal original claims. There follows a discussion of how best to understand Equal Original Claims, in terms of four understandings of original ownership that are common to Western political philosophy: No Ownership, Joint Ownership, Equal Division, and Common Ownership. No Ownership and Joint Ownership are dismissed on the basis that they are incompatible with Equal Original Claims, leaving Equal Division and Common Ownership as the two remaining contenders.
Against Equal Division of Natural Resources
Authors: Blomfield Megan 
Published: May 2019

Abstract
This chapter rejects Equal Division, focusing on Hillel Steiner’s formulation of the view. First, further explanation of why one might take Equal Division to follow from Equal Original Claims is provided. Then, David Miller’s objection is introduced, according to which there is no defensible metric by which resource shares can be made commensurate, given the fact of reasonable value pluralism. The chapter argues that what the metric problem really shows, is that Equal Division possesses insufficient impartiality to satisfy the equal original claims that motivate the view in the first place. This case is made by critiquing the three principal metrics proposed to amalgamate individual valuations of natural resources and thereby render Equal Division both coherent and defensible; namely, economic value, opportunity cost, and ecological space. The chapter concludes that to respect Equal Original Claims, the better approach will be to formulate a Common Ownership conception of justice for natural resources.
Revisiting the Global Emissions Budget
Authors: Blomfield Megan 
Published: May 2019

Abstract
This chapter reconsiders the global emissions budget using the conception of natural resource justice defended previously. Noting that this is to adopt a method of partial integrationism, it is shown that the two principles can at least be applied not only to the problem of sharing the emissions budget, but also the prior matter of setting it. Applying the principle of collective self-determination to these problems is found to be more difficult, because it grounds many conflicting claims. This difficulty is addressed by formulating guidelines for adjudicating between self-determination claims. It is concluded that the emissions budget should be set within the parameters of enabling basic needs satisfaction for current and future individuals and protecting collectives from climate impacts that threaten the legitimate exercise of self-determination through territorial displacement. If this allows for more than subsistence emissions, fair international negotiations will be required to distribute any such secondary emissions entitlements.