Question: Giambattista Vico (B. Giovan Battista Vico, 23 June 1668 - 23 January 1744) was an Italian political philosopher and rhetorician, historian and jurist, of the Age of Enlightenment. He criticized the expansion and development of modern rationalism, was an apologist for Classical Antiquity, a precursor of systematic and complex thought, in opposition to Cartesian analysis and other types of reductionism, and was the first expositor of the fundamentals of social science and of semiotics. The Latin aphorism Verum esse ipsum factum ("What is true is precisely what is made") coined by Vico is an early instance of constructivist epistemology. He inaugurated the modern field of the philosophy of history, and, although the term philosophy of history is not in his writings, Vico spoke of a "history of philosophy narrated philosophically."

Vico's version of rhetoric is product of his humanistic and pedagogic concerns. In the 1708 commencement speech De Nostri Temporis Studiorum Ratione (On the Order of the Scholarly Disciplines of Our Times), Vico said that whoever "intends a career in public life, whether in the courts, the senate, or the pulpit" should be taught to "master the art of topics and [to] defend both sides of a controversy, be it on Nature, Man, or politics, in a freer and brighter style of expression, so he can learn to draw on those arguments which are most probable and have the greatest degree of verisimilitude"; yet, in Scienza Nuova, Vico denounced defending both sides in controversies as false eloquence. As Royal Professor of Latin Eloquence, Vico prepared students for higher studies in the fields of Law and of Jurisprudence; thus, his lessons were about the formal aspects of the canon of rhetoric, including the arrangement and the delivery of an argument. Yet, Vico chose to emphasize the Aristotelian connection of rhetoric with logic and dialectic, thereby placing ends (rhetoric) at their center. Vico's objection to modern rhetoric is that it is disconnected from common sense (sensus communis), defined as the "worldly sense" that is common to all men. In lectures and throughout the body of his work, Vico's rhetoric begins from a central argument (medius terminus), which is to be clarified by following the order of things as they arise in our experience. Probability and circumstance retain their proportionate importance, and discovery -- reliant upon topics (loci) -- supersedes axioms derived through reflective, abstract thought. In the tradition of classical Roman rhetoric, Vico sets out to educate the orator (rhetorician) as the transmitter of the oratio, a speech with ratio (reason) at the centre. What is essential to the oratorical art (Gr. Retorike, rhetorike) is the orderly link between common sense and an end commensurate with oratory; an end that is not imposed upon the imagination from above (in the manner of the moderns and dogmatic Christianity), but that is drawn from common sense, itself. In the tradition of Socrates and Cicero, Vico's true orator will be midwife to the birth of "the true" (as an idea) from "the certain", the ignorance in the mind of the student. Rediscovery of "the most ancient wisdom" of the senses, a wisdom that is humana stultitia ("human foolishness"), Vico's emphases on the importance of civic life and of professional obligations are in the humanist tradition. He would call for a maieutic (jurisprudential) oratory art against the grain of the modern privilege of the dogmatic form of reason, in what he called the "geometrical method" of Rene Descartes and the logicians at the Port-Royal-des-Champs abbey.

Using a quote from the above article, answer the following question: In what way is Vico's approach less dogmatic?
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Answer: Vico's emphases on the importance of civic life and of professional obligations

Question: Journey is an American rock band that formed in San Francisco in 1973, composed of former members of Santana and Frumious Bandersnatch. The band has gone through several phases; its strongest commercial success occurred between 1978 and 1987. During that period, the band released a series of hit songs, including "Don't Stop Believin'" (1981), which in 2009 became the top-selling track in iTunes history among songs not released in the 21st century. Its parent studio album, Escape, the band's eighth and most successful, reached No. 1 on the Billboard 200 and yielded another of their most popular singles, "Open Arms".

Journey's album sales did not improve and Columbia Records requested that they change their musical style and add a frontman, with whom keyboardist Gregg Rolie could share lead vocal duties. The band hired Robert Fleischman and transitioned to a more popular style, akin to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977 and together the new incarnation of the band wrote the hit "Wheel in the Sky"; however, management differences resulted in Fleischman leaving within the year. In late 1977, Journey hired Steve Perry as their new lead singer. Herbie Herbert, the band's manager, also hired Roy Thomas Baker as a producer to add a layered sound approach as Baker had done with his previous band, Queen. With their new lead singer and talented new producer, Journey released their fourth album, Infinity (1978). This album set Journey on their road to stardom with their first RIAA-certified platinum album. This album, with their hit song "Wheel in the Sky" (#57 U.S.), set Journey on a new path with a more mainstream sound to make their highest chart success to date. In late 1978, manager Herbie Herbert fired drummer Aynsley Dunbar, who joined Bay Area rivals Jefferson Starship shortly thereafter. He was replaced by Berklee-trained jazz drummer Steve Smith. Perry, Schon, Rolie, Smith and Valory recorded Evolution (1979), which gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'" (#16); and Departure (1980), which reached No. 8 on the album charts. Journey's newfound success brought the band an almost entirely new fan base. During the 1980 Departure world tour, the band recorded a live album, Captured. Keyboardist Gregg Rolie then left the band, the second time in his career he left a successful act. Keyboardist Stevie "Keys" Roseman was brought in to record the lone studio track for Captured, "The Party's Over (Hopelessly in Love)," but Rolie recommended pianist Jonathan Cain of The Babys as the permanent replacement. With Cain's replacement of Rolie's Hammond B-3 organ with his own synthesizers, the band was poised for a new decade in which they would achieve their greatest musical success.

Using a quote from the above article, answer the following question: Why did Journey take a new direction in music?
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Answer:
Journey's album sales did not improve and Columbia Records requested that they change their musical style and add a frontman,