What working memory is for

Glenberg focuses on conceptualizations that change from moment to moment, yet he dismisses the concept of working memory (sect. 4.3), which offers an account of temporary storage and on-line cognition. This commentary questions whether Glenberg's account adequately caters for observations of consistent data patterns in temporary storage of verbal and visuospatial information in healthy adults and in brain-damaged patients with deficits in temporary retention.</jats:p

An Exploratory Analysis of the Role of Self-Compassion and the Relationship Between Attachment and Body Appreciation

Graduate Applie

An internet study of prospective memory across adulthood

In an Internet study, 73,018 18-79-year-olds were asked to “remember to click the smiley face when it appears”. A smiley face was present/absent at encoding, and participants were told to expect it “at the end of the test”/“later in the test.” In all 4 conditions, it occurred after 20 min of retrospective memory tests. Prospective remembering benefited at all ages from both prior target exposure and temporal uncertainty; moreover, it resembled working memory in its linear decline from young adulthood. The study demonstrates the power of Internet methodology to reveal age-related deficits in a single-trial prospective memory task outside the laboratory

Items on the Left Are Better Remembered

We report evidence of a new phenomenon from three experiments: a leftward bias when people try to remember visually presented information. Experiments 1 and 2 showed lateral leftward biases in memory in a large (total N&#x3e;60000) sample of participants, with data collected via the British Broadcasting Corporation (BBC) web site. Experiment 3 replicated the findings of a leftwards bias in short-term memory with a more intensive data collection

Review Lafarga, F., & Pegenaute, L. (Eds.) (2013). Diccionario histórico de la traducción en Hispanoamérica. Madrid/Frankfurt: Iberoamericana/Vervuert. 515 p.

No abstrac

The role of leadership in conducting orchestras

This thesis examines the leadership role of the orchestral conductor. Conducting is one of the most visible manifestations of leadership in action. Because of this, references to conductor leadership can be found in literature on management and studies into organizational leadership as well as seminars aimed at corporate leadership. However, issues of leadership appear to form only a tangential part of conductor training and development. Compared to the in-depth study of musicianship and gestural technique, leadership appears to be a skill left to ‘on-the-job’ experience and with minimal reference to existing studies and understanding of leadership. In order to explore further the nature of the conductor’s leadership role, a survey of 31 aspiring conductors from eleven different countries forms the original research element of this thesis. The survey is comprised of seven open-ended questions and includes questions on the perceived relevance of leadership in conducting orchestras, role models, leadership metaphors from other disciplines, and exposure to issues of leadership during training. The survey material is analysed and then discussed with reference to established leadership theory. In addition, reference is made to the views of established conductors to be found in openly available interviews. The question that lies at the core of this thesis asks whether leadership skills are relevant to conducting orchestras. And, if so, are there ways in which aspiring conductors can be helped to assimilate these skills? In addition, the investigative nature of the literature review seeks to pull together all the strands of scholarship that find inspiration for other fields from the leadership role of the conductor. The conclusion proposes three elements to understanding conductor leadership: exploring personal authenticity, two theoretical leadership frameworks (conductor leadership continuum and modes of leadership) and practical suggestions for accelerating leadership experience including real-time mentoring and an increased emphasis on the direct interaction between student-conductor and orchestra

2666, o la legitimidad de la literatura en tiempos 'post'

En este artículo, se analiza la novela 2666 de Roberto Bolaño como emblemática de la tradición narrativa posapocalíptica, donde se pone de manifiesto el agotamiento del poder, el final de una época que no conoce zonas no contaminadas por la violencia. De allí que la representación más adecuada del mundo contemporáneo aparezca como una pesadilla caracterizada por esa violencia y por la guerra permanente, verdaderas sinécdoques de la historia contemporánea. 2666 clausura el siglo XX expresando dos naufragios: el primero atañe a la militancia de la izquierda, en la que todavía creía la generación del propio Bolaño, representada por un personaje, Amalfitano, que encarna las derrotas y pérdidas del proyecto revolucionario. El segundo naufragio es el que ha afectado a una concepción humanista del arte; en la actualidad, se asume que la literatura ya raramente incomoda o ilumina. Atrás ha quedado la sacralización de la figura del artista que marcó el período modernista de nuestra cultura, por lo que el arte ha perdido su poder emancipador, ha dejado de ser una fuerza civilizadora para ponerse al servicio de regímenes totalitarios, o para disolverse en el triunfo banal de la industria cultural. El texto parece proponer que para recuperar cierta legitimidad, en una obra debe coincidir el compromiso estético con el ético, por lo que los procesos de ficcionalización no pueden entenderse como meros proyectos estéticos

Una muchacha muy bella de Julián López, o el gesto reparador de la escritura

ABSTRACT This article focusses on the aspects that make Julián López’s novel Una muchacha muy bella (2013) original. First, we will examine how this text compares to other stories written by the post-dictatorial Argentine “second generation”. Then we will look into the strategies used by the narrator to cope with the trauma of his mother’s disappearance, where ellipsis, which in turn leads to compensating techniques, seems particularly noticeable. Finally, we will focus on a number of interventions of the text – such as the poeticization of experience and the importance attached to reading – that make it go against the flow and destabilize certain predominant practices in the contemporary literary field. KEY WORDS: the literature of the second generation, contemporary argentine narrative prose, Julián Lópe

Trauma, Creativity, And Bearing Witness Through Art: Marian Kołodziej\u27s Labyrinth

The mid-2000s brought rise to significant shifts in the field of trauma studies, most notably the suggestion that a survivor’s trauma can have meaning when it is shared with others through creative representation and storytelling. Despite these critical changes in the field, there is a dearth of research outside of clinical art therapy that examines the role of creativity in the processes of working through past traumas for survivors, and in the processes of bearing witness to the trauma of others. In an effort to address these issues, I use a framework of relational psychoanalysis and feminist philosophy to explore a visual art exhibition in Harmęże, Poland entitled The Labyrinth, which wascreated by Nazi concentration camp survivor Marian Kołodziej. This thesis reveals how the creative process can help genocide survivors “mend” by rendering their traumatic pasts visible to themselves and others through visual art. I conclude that acting out when filtered through the creative process can lead to mending and working through for the survivor. This thesis also unpacks the witness function of survivor art—that is, the power of visual art in the process of bearing witness to traumatic events that are so often described as unrepresentable and incomprehensible. I conclude thatsurvivor art is a medium with the unique ability to awaken witnesses to their insomniatic responsibility to bear witness “beyond recognition”—a process Kelly Oliver asserts is essential for the restoration of subjectivity for the survivor