Books on the topic 'Inverted face'

The need for reform in Italian Public Administration is a fact that no longer calls for justification: the increasing divergence between expectations and performance in the public sector appears to expand in inverse proportion to the success rate of the attempts at reform that have successively been made since the 1990s. Taking this reflection as its cue, the book offers the results of a study inspired by the Tuscan regional law 40/2009, exploring the results and prospects of the process of administrative and regulatory simplification, at both national and regional level. The chosen key, which is crucially interdisciplinary, for the very first time probes the profound meshing of legal and economic aspects, offering elements not only of analysis but also of practical application.

This chapter turns to object agreement with personal pronouns in Hungarian. Pronouns are interesting because they do not always trigger agreement with the verb: first person objects never trigger object agreement (morphology), and second person pronouns only do with first person singular subjects. It is proposed that the distribution of object agreement is a morphological effect and argues that all personal pronouns do in fact trigger agreement, but agreement is not always spelled out. This means that Hungarian has an inverse agreement system, where the spell-out of agreement is determined by the relative person feature (or person feature sets) of the subject and the object. A formally explicit analysis of the syntax and the morphological spell-out of agreement is provided.

This chapter first explains what intuitive theories are, how they can be modeled as probabilistic, generative programs, and how intuitive theories support various cognitive functions such as prediction, counterfactual reasoning, and explanation. It focuses on two domains of knowledge: people’s intuitive understanding of physics, and their intuitive understanding of psychology. It shows how causal judgments can be modeled as counterfactual contrasts operating over an intuitive theory of physics, and how explanations of an agent’s behavior are grounded in a rational planning model that is inverted to infer the agent’s beliefs, desires, and abilities. It concludes by highlighting some of the challenges that the intuitive theories framework faces, such as understanding how intuitive theories are learned and developed.

Mahler’s orchestral song ‘Das himmlische Leben’ (1892) includes references to the chanson of Aristaeus from Act I of Offenbach’s Orphée aux Enfers (1858)—an opéra bouffon Mahler conducted twice in Kassel, between 1883 and 1885. The archaisms of melodic line, part-writing, harmonisation and orchestration in Mahler’s song are at least partly inspired by the direct historicism of Offenbach’s fake pastoral. Irony also has a crucial role in the rhetoric strategies of both works. Jean Paul’s definition of humour as ‘the inverted sublime’ can just as well be applied to Offenbach’s parody of a myth as to the childish and worldly joys of Paradise depicted in ‘Das himmlische Leben’. A comparison with another Humoreske of 1892 by Mahler, ‘Wer hat dies Liedlein erdacht?’, demonstrates that the subversive quotation or allusion, which involves a duality of naivety and chicanery, the lofty and the lowly, is a virtually indispensable feature of the genre.

Scholars presently engaged in African History have to face obstacles inherent to the constraints which involve academic production and its regimens of truth. It is in the circle of academic debates that one may grasp the lack of epistemic autonomy not only in defining our own historical questions, but also our heuristic models and approaches. Being able to call into question such regimens of truth which sustain the production of knowledge about the African continent is contingent on the critical reframing of epistemic vantage points, in spite of the recognition that that the very conceptual frameworks and categorization systems remain embedded in Western epistemology. Critically grasping this fact represents a challenge of daunting proportions. Therefore, to make historical sense of African societies' constitutive processes it is imperative to provincialize the political historicism which insists in placing the State as a definitive, rational and consolidated form of political organization. The analytical gaze deployed in this book intends to set out of the inverse perspective by focusing upon processes of social mobility, associativism and conflict management as constitutive elements of these societies. It is posited that it is possible to approach these processes out of the usual paradigms of modern states - either colonial or contemporary - in order to build heuristic perspectives conducive to the uplifting of social agency and autonomy of African historical processes.

This book engages the reader in a wide-ranging assessment of the legacy of Barack Obama—the “first Black president”—relative to Black politics. It uses its vantage point of being written during Donald Trump’s presidency to understand what Black politics has and has not inherited from the Obama administration. It is comprehensive in the number of constituencies and policy topics it covers. Its co-editors frame its chapters by explaining how both “inverted linked fate” and an “inclusionary dilemma” shaped the Obama presidency and legacy for Black politics. Nearly twenty prominent or emerging political scientists provide this book’s interior chapters, using quantitative and qualitative methods to draw conclusions. The first group of scholars examines the Obama administration’s impact upon the attitudes and perceived group interests of various Black constituencies, including voters, partisans, civil rights leaders, lobbyists, women, church leaders and members, and LGBTQ persons. The second group examines Obama’s impact upon Black policy interests, including civil rights, criminal justice reform, antipoverty, women’s welfare, healthcare reform, housing, immigration, and foreign affairs. In the conclusion, the co-editors consider what may confront the “next Black president” and the “next Black America.”

This chapter first describes how to compute the Hodge coniveau of complete intersections. It then explains a strategy to attack the generalized Hodge conjecture for complete intersections of coniveau 2. The guiding idea is that although the powerful method of the decomposition of the diagonal suggests that computing Chow groups of small dimension is the right way to solve the generalized Hodge conjecture, it might be better to invert the logic and try to compute the geometric coniveau directly. And indeed, this chapter culminates with the proof of the fact that for very general complete intersections, the generalized Hodge conjecture implies the generalized Bloch conjecture.

Chapter 7 introduces commercial banks as creators of money and integrates them into the general equilibrium framework. The motivation to deviate from the standard approach that neglects commercial banks and entrusts all money creation to a central bank is twofold. First, apart from currency, central banks do not provide money directly but rather supply reserves that enable banks to create deposits. After the Great Recession, this transmission process staggered: increases in reserves outpaced increases in deposits. Any analysis of the monetary expansions starting in 2008 would remain incomplete and unsatisfactory unless it took account of this fact. Second, central banks normally control an overnight interbank interest rate that differs from the market interest rate on bonds. Considering an interbank market and its relationship with the bond market makes it possible to derive a term structure of interest rates. This is important because inverse term structures are good predictors for recessions.

In his reading of Descartes, Whitehead extracts a definition of the subject as a relation through which feelings are unified and appropriated. The key point of disagreement is found in the inverse relations that each constructs between the subject and feeling. If Whitehead does in fact take up the problem’s terms, he is nevertheless radically opposed to the Cartesian economy organised around a subject qua foundation of feeling. Whitehead’s reading could be criticised, of course: he takes a Cartesian proposition, pushes it in the direction of speculative philosophy, only to return, finally, to Descartes’ own internal coherence, opposing it to an entirely different economy of thought. This, however, would be to lose what is important in Whitehead’s reading of Descartes. Whitehead is not doing history of philosophy. The relevance of each of his critiques and reprises could, of course, be justly attacked in so far as they are constructed on grounds that would have been completely foreign to the original thinkers.

Whitehead’s notion of ‘causal efficacy’ provides a bridge from epistemology to ontology, or to what Whitehead calls cosmology. It inverts the priority of epistemology over causality as established by Hume and Kant, for even to raise the question of how we know is already to have accepted the operations of causality within the mind, in the form of the “conformation of present fact to immediate past.” Hume’s doubt as to whether and how we can perceive causal processes at all is therefore misplaced; for this doubt rests upon the illicit presupposition of a mind separated from what it perceives, or of presentational immediacy detached from the matrix of causal efficacy within which it arises. This chapter traces Whitehead’s argument about symbolism and causal efficacy, and show its relevance to contemporary philosophical debates (in both analytic and continental circles) about grounds, cognition, and causality. It further suggests that Whitehead’s insistence that perception is a species of causality also implies the priority of sentience over vitality. In other words, perception and feeling are among the necessary conditions of possibility for life, rather than (as is usually assumed in contemporary doctrines of emergence and of neo-vitalism) the reverse.

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”