Neural systems that facilitate the representation of social rank

Across species, animals organize into social dominance hierarchies that serve to decrease aggression and facilitate survival of the group. Neuroscientists have adopted several model organisms to study dominance hierarchies in the laboratory setting, including fish, reptiles, rodents and primates. We review recent literature across species that sheds light onto how the brain represents social rank to guide socially appropriate behaviour within a dominance hierarchy. First, we discuss how the brain responds to social status signals. Then, we discuss social approach and avoidance learning mechanisms that we propose could drive rank-appropriate behaviour. Lastly, we discuss how the brain represents memories of individuals (social memory) and how this may support the maintenance of unique individual relationships within a social group. This article is part of the theme issue ‘The centennial of the pecking order: current state and future prospects for the study of dominance hierarchies’.

LMX Theory

This chapter develops the background and use of a basic principle for the entire book: LMX. Defined in the introduction, LMX is a relationship-based approach for managing teams. It drives leader effectiveness through developing dyadic relationships with members, and even using these dyads to build effective groups. Leaders measure the dyadic relationships in terms of the level of loyalty, support, respect, and trust. The leader treats each member as a unique individual as a singular relationship is built. In role making, leaders tend to put people into groups: in-group or out-group. LMX is a powerful way to create and nurture relationships between the leader and each member supervised. It shines the light on leadership communication and demonstrates how trust, respect, and loyalty can improve work relationships.

Existential and Psychological Problems of Aging: The Perspective of Ukrainian Lyrics’ Art Representation

Purpose. Aging is intricate process of self-transformation in view of involution of body, loss of sexual attractiveness, but at the same time, old age is a time for reconsideration of self-existence in time and in the world within coherence of life sense targets and their (successful) realization. Unique individual experience of growing old implemented in Ukrainian literature (and lyrics) can complete the data received by gerontology. Moreover gender approach in literary gerontology highlights masculine / feminine phenotypical features of internal reverberating of aging. Theoretical basis. To inquire into existential and psychological problems of aging exemplified in the twentieth-century Ukrainian Lyrics it is seems to be the most effective to employ philosophical (A. Anhelova, V. Demidov, T. Dziuba, K. Pigrov, S. Lishaev, O. Khrystenko and others) and psychological (O. Berezina, S. Hamilton, V. Savchyn, Y. Sapogova and others) approaches in gerontology, as well as feministic studies on elder female body discrimination, in particular in literature (K. Woodward, J. King). Originality. This research paves the way to the development of gender and literary dimensions in Ukrainian gerontology and anthropology in general. Some of the existential and psychological problems of aging (as anxiety of body involution and decline of strength, as well as finding the compensatory pleasure in wisdom and spiritual treasures) are revealed on the material of 20th-century Ukrainian poetry (N. Livytska-Kholodna, B. Lepkyi, M. Zerov, Yurii Klen, Y. Malaniuk, Y. Tarnawsky, I. Zhylenko, S. Yovenko and others). The individual lyric experience of aging in different gender moods is anchored mostly in psychic, mental, sense-life strategies. Conclusions. Among the feminine strategies of aging self-reception there are observation of own elder body with anxiety and fear, its "invisibility", deepened feelings of loneliness, self-estrangement, but also finding the sense of life and soul harmony in own family, offspring. Masculine self-reception of aging deals with ideal spiritual model of Wise old man – more abstract than personal; masculine anxiety is caused by physical bodily declining, not attractiveness, but strength and power loosing.

Johann Georg Zimmermann’s Therapeutics of Solitude in the German Enlightenment

This essay charts the German eighteenth-century physician and writer Johann Georg Zimmermann’s monumental work on solitude. The essay draws on but also challenges recent historiography on two counts. First, it situates Zimmermann’s discourse on solitude in the context of the early modern cultura animi tradition, in which philosophy provided a cure for a soul perceived as diseased and perturbed by passion and desire. Placed in this context, solitude comes into view not primarily as a passive state of rest and tranquillity connected to the rural life, but as active, therapeutic and exercise-oriented work on the self. Second, it argues that Zimmermann also shaped his discourse in relation to the increasingly radical late eighteenth-century exploration of subjectivity and selfhood, an exploration that reflects the emergence of the modern conception of the unique individual and autonomous self.

D. A. Ọbasá: The Man and the Significance of his Cultural Activism

Tis essay explores Adenrele ́ ́ Adetí mi ̀ ́kan Ò basa ̣ ’s creative ingenuity and ́ how he put that into use as a poet, cultural activist, journalist, printer, and publisher of a bilingual newspaper, The Yorùba News. The essay traces Obasa’s history; right from his birth to the period he became a renowned Yorùbá intellectual. The cultural identity theory which studies a person’s sense of belonging to a particular culture and accepting the traditions, heritage, language, religion, and social structures of such culture is adopted for the analysis in this study. The study shows how Obasa ̣ ́ projects himself as a unique individual who used Yorùbá culture to connect people. The essay concludes that Obasa ̣ ́ is a lover of his indigenous culture and language.

The Problem of Developing the Reflexivity of Future Specialists in Social and Humanistic Sciences in the Context of Postmodernism

The article talks about the postmodern approach to studying the problem of reflexive competence of future specialists, requires a comprehensive analysis of the organization and content of the educational process in higher education institutions. The postmodern concept of professional reflection and personal reflexivity of students is highlighted, it determines the ratio of these formations as unique individual phenomena, their influence on the formation and manifestation of professional and professional competence at the creative-professional, cognitive and personal-motivational levels. The concept of reflectivity of the future specialist is specified. The structure of professional reflection of students is specified. The value of pedagogical practice for the development of professional reflection in future professionals from the standpoint of the postmodern approach is emphasized. The model of formation and development of personal-professional reflectivity in future specialists at the competence, cognitive, personal-motivational, emotional and evaluative-behavioral levels is presented.

Creativity in Jazz

<p>Common discourses around jazz generally acknowledge the centrality of creativity to the music, but scholarship on what precisely creativity is in jazz, and how it might best be enhanced is not well developed. Building on the important work in this area begun by scholars such as Ed Sarath and R. Keith Sawyer, I first investigate the extensive scholarly literature on creativity, drawing predominantly from social science and education contexts, and then apply some of the most relevant frameworks to jazz. These frameworks draw several key aspects of jazz practice into sharp relief, in particular the respective roles of individuals and ensembles and the ways they work in common, and the provenance of musical materials in creative jazz practice. With these key ideas acting as a theoretical lens, I view the historical practice of three unquestionably creative jazz musicians: Ornette Coleman, Miles Davis and Duke Ellington. The choice of these musicians in particular is important because their example, when understood through the lens of creativity, in part authenticates some of the traditional tools by which we investigate jazz, historically, while at the same time pointing towards some different, less commonly discussed attributes. Most important, the creativity lens reveals important ways in which creative practice can be attributable to understandable procedures that are available to all accomplished musicians, not just a few “great men”. Thus my conclusions call into question more traditional modes of jazz history and criticism which, while acknowledging the music’s collective nature, tend to emphasise the roles of individuals as primary in jazz. Instead, my research suggests that creativity is best achieved in group contexts where diversely gifted participants work collaboratively in egalitarian, interactive, improvised settings. Individuals do make significant contributions to this mix, and in terms of creative advances in jazz – and in terms of achieving meaningful self-expression – the most important quality individual musicians can pursue is the development and expression of unique musical voices. In addition to improvised interactivity among unique individual voices, the adoption of musical materials from outside of jazz and their transformations (along with similar transformations of musical materials already common currency among jazz musicians) can be shown to serve both the expressive goals of musicians and propel jazz in creative and potentially fruitful directions. It is the improvised colloquy of such individual voices, transforming received and newly acquired musical materials in the service of self-expression, that contributed to the lasting allure of the music attributed to Ornette Coleman, Miles Davis and Duke Ellington. Saxophonist Jan Garbarek is proposed as a contemporary musician who has made use of all of these strategies in forging jazz music that demonstrates fidelity to the core processes of jazz while only provisionally embracing some of the style features of earlier forms of the music – style features that common jazz discourses have tended to emphasise at the expense of the processes that gave rise to them.</p>

Creativity in Jazz

<p>Common discourses around jazz generally acknowledge the centrality of creativity to the music, but scholarship on what precisely creativity is in jazz, and how it might best be enhanced is not well developed. Building on the important work in this area begun by scholars such as Ed Sarath and R. Keith Sawyer, I first investigate the extensive scholarly literature on creativity, drawing predominantly from social science and education contexts, and then apply some of the most relevant frameworks to jazz. These frameworks draw several key aspects of jazz practice into sharp relief, in particular the respective roles of individuals and ensembles and the ways they work in common, and the provenance of musical materials in creative jazz practice. With these key ideas acting as a theoretical lens, I view the historical practice of three unquestionably creative jazz musicians: Ornette Coleman, Miles Davis and Duke Ellington. The choice of these musicians in particular is important because their example, when understood through the lens of creativity, in part authenticates some of the traditional tools by which we investigate jazz, historically, while at the same time pointing towards some different, less commonly discussed attributes. Most important, the creativity lens reveals important ways in which creative practice can be attributable to understandable procedures that are available to all accomplished musicians, not just a few “great men”. Thus my conclusions call into question more traditional modes of jazz history and criticism which, while acknowledging the music’s collective nature, tend to emphasise the roles of individuals as primary in jazz. Instead, my research suggests that creativity is best achieved in group contexts where diversely gifted participants work collaboratively in egalitarian, interactive, improvised settings. Individuals do make significant contributions to this mix, and in terms of creative advances in jazz – and in terms of achieving meaningful self-expression – the most important quality individual musicians can pursue is the development and expression of unique musical voices. In addition to improvised interactivity among unique individual voices, the adoption of musical materials from outside of jazz and their transformations (along with similar transformations of musical materials already common currency among jazz musicians) can be shown to serve both the expressive goals of musicians and propel jazz in creative and potentially fruitful directions. It is the improvised colloquy of such individual voices, transforming received and newly acquired musical materials in the service of self-expression, that contributed to the lasting allure of the music attributed to Ornette Coleman, Miles Davis and Duke Ellington. Saxophonist Jan Garbarek is proposed as a contemporary musician who has made use of all of these strategies in forging jazz music that demonstrates fidelity to the core processes of jazz while only provisionally embracing some of the style features of earlier forms of the music – style features that common jazz discourses have tended to emphasise at the expense of the processes that gave rise to them.</p>

Important Aspects in Assessing the Personal Qualities of Management Personnel

Each leader is a unique individual with unique management skills. In most cases, there is a view that the organization is a projection of the personality of the leader. Human nature is inherently complex. It is therefore not always appropriate to associate the leadership qualities of a leader with a style of leadership in exactly the same authoritarian, democratic or liberal form. In many cases, however, there are leaders in this balance. A leader - as a manager in the organization — must have the ability, talent and, of course, the psychological will to be able to react differently to different situations in the management process. Therefore, when appointing staff to management positions or analyzing the activities of management staff, there is a need to assess their personal qualities. Through such an assessment, it is possible to make decisions about the formation of the moral image of the leader in management, as well as the development of his personal qualities. Because for a person to have good professional qualities, his personal qualities must be good. The article argues that the role of the leader in the evaluation of management performance is important in the study, analysis and, if necessary, the development of conclusions. Several respondents participated in the analyses studied. The answers to the questions asked in the specially designed questionnaire were shaped by the questionnaires in them.

Tourists’ characteristics in relation to expectations, satisfaction and loyalty in hotel industry

Objective: This paper makes an effort in combining the hotel subsector with a specific geographic location and with three determined constructs. Methods: This article uses a unique individual level dataset collected in Spain hotels and attempts to shed more light on three phases of consumer evaluation: expectations, satisfaction and loyalty. In order to relate the evaluation scores in these areas to sociodemographic characteristics of the consumers, we employ regression analysis. Results: The results show that all dependent variables in hand are related to explanatory variables; often in directions assumed by theory or previous empirical studies. Specifically, we find that age, economic status and country of origin are statistically significantly related to consumer evaluation. One of the novelties of our study is inclusion of “exceeded expectations” variable that intends to measure positive or negative surprise with the service. Conclusion: The knowledge of the existence of incidences of demographic variables on satisfaction, loyalty and expectations could not only, but should, lead to the formulation and implementation of differentiated strategies, segmented according to groups of individuals, focused on improving these indicators, adapting services to the demographic characteristics of the clients.