Stylistics, criticism and mythrepresentation again: squaring the circle with Ray Mackay's subjective solution for all problems

This article is a response to an article by Ray Mackay (1996) which constitutes an attack on stylistic analysis in general, and the writings of the above authors and Ron Carter in particular. Mackay's article (in Language and Communication) accuses stylistics of 'scientificness' and claims that its attempt to provide objective analyses of literary texts is futile.1 We suggest that Mackay has misrepresented what stylisticians have said about objectivity, and that his understanding of objectivity, science and the nature of text-interpretative argument is seriously flawed.

The Musical Body: Devising a choreo-musical interpretation for the work Tierkreis (1974-75) by Karlheinz Stockhausen

In this chapter the authors explore a practice-led approach to understanding the role of the body in music performance.

Many writers have discussed the body in music performance, in improvised music, as well as in electronic music. In this chapter the authors offer new modalities of reflection on the musical body in the interpretation of existing contemporary repertoire. Specifically, the authors discuss a re-interpretation of German composer Karlheinz Stockhausen's musical work 'Tierkreis'. Through the development of a specifically physical approach to the performance, the authors investigate the intrinsic relationship between the body and the music and point to an under-explored modality, which is not a musical choreography, but a choreography that is shaped through the musical body itself. It is a modality in which music itself propels forward choreographic ideas, the body becoming the driving force behind musical interpretation. The authors' thinking is influenced by Susan Kozel’s understanding of performance as an ecosystem (Kozel 2007) and framed within a subjective account of musical embodiment.

By merging theory with praxis the authors offer a deeper understanding of the role of the body in music performance and consider how such contributions might lead to new and exciting interpretive frameworks for existing musical repertoires.

Harnessing the power of personality assessment:Subjective assessment predicts behaviour in horses

Objective assessment of animal personality is typically time consuming, requiring the repeated measure of behavioural responses. By contrast, subjective assessment of personality allows information to be collected quickly by experienced caregivers. However, subjective assessment must predict behaviour to be valid. Comparisons of subjective assessments and behaviour have been made but often with methodological weaknesses and thus, limited success. Here we test the validity of a subjective assessment against a battery of behaviour tests in 146 horses (Equus caballus). Our first aim was to determine if subjective personality assessment could predict behaviour during behaviour testing. We made specific a priori predictions for how subjectively measured personality should relate to behaviour testing. We found that Extroversion predicted time to complete a handling test and refusal behaviour during this test. It also predicted minimum distance to a novel object. Neuroticism predicted how reactive an individual was to a sudden visual stimulus but not how quickly it recovered from this. Agreeableness did not predict any behaviour during testing. There were several unpredicted correlations between subjective measures and behaviour tests which we explore further. Our second aim was to combine data from the subjective assessment and behaviour tests to gain a more comprehensive understanding of personality. We found that the combination of methods provides new insights into horse behaviour. Furthermore, our data are consistent with the idea of horses showing different coping styles, a novel finding for this species. © 2013 Elsevier B.V.