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The use of aluminium for pianos anxiety techniques buy hydroxyzine 10mg with mastercard, however symptoms of anxiety buy hydroxyzine 25 mg with amex, did not become widely accepted and was discontinued acute anxiety 5 letters generic hydroxyzine 10 mg online. The numerous parts of grand and upright pianos are generally hardwood anxiety symptoms talking fast purchase hydroxyzine in united states online, such as maple anxiety job order genuine hydroxyzine line, beech or hornbeam anxiety erectile dysfunction buy discount hydroxyzine 10mg line. The Kawai firm has built pianos with action parts made of more modern and effective plastics such as carbon fibre and these parts have held up better. In quality pianos the soundboard is made of solid spruce, that is, spruce boards glued together at the edge. The best piano makers use close-grained, quarter sawn, defect-free spruce and make sure that it has been carefully dried over a long period of time before making it into soundboards. Traditionally the black keys were made of ebony and the white keys were covered with strips of ivory. Since ivory-yielding species are endangered and protected by treaty, plastics are now almost always used. Yamaha have developed a plastic, since imitated by others, which simulates the look and feel of ivory. When the pedal is pressed, however, all the dampers on the piano are lifted at once so that all the piano strings are free from contact with the dampers. In contrast, the pedal was used more sparingly by the composers of the classical period, such as Haydn and Mozart, and Beethoven in his early works. The soft pedal, or una corda pedal, is always placed at the left hand of the other pedal(s). On a grand piano the soft pedal shifts the whole action, including the keyboard, slightly to the right. The result of this is that hammers that normally strike all three of the strings for a note strike only two of them. In the eighteenth and early nineteenth centuries the soft pedal was more effective than it is today, because pianos were made with only two strings per note and therefore just one string would be struck. In modern pianos there are three strings per note, except for lower notes which have two and the very lowest 242 which have only one. Since the hammers have less distance to travel this reduces the speed at which they hit the strings and hence the tone volume is somewhat reduced. This, however, does not change the tone quality in the way that the una corda pedal does on a grand piano. So far as the weight of the modern piano is concerned, the requirements of structural strength mean that a small upright piano can weigh up to 136 kg and a concert grand piano can weigh up to 480 kg. Pianos need regular tuning to keep them up to pitch and to produce a pleasing sound. By convention they are tuned to the internationally recognized standard of A4 [the A above middle C] = 440Hz. The hammers of pianos are voiced to compensate for gradual hardening and other parts also need periodic regulation. Aged and worn pianos can have parts replaced and can be rebuilt and reconditioned. Piano removal should only be done by expert piano removalists because specialised manpower and equipment are needed. Each of the modes may be transposed so as to commence on any note, with the appropriate accidentals inserted, so that the same sequential intervals are heard. The Ionian mode is identical with the scale of C major and, when transposed, with all the major scales. The Aeolian mode is identical with the natural minor scale of A minor (the relative minor of C major) and, when transposed, with all the natural minor scales. The harmonic minor scale is the natural minor scale with the leading note (seventh) of the natural minor scale sharpened by a semitone. The melodic minor scale is the natural minor scale with both the sixth and seventh of the natural minor scale sharpened in the ascending scale but unsharpened when descending. The major scales, harmonic minor scales and melodic minor scales form the basis of Western music. The Ionian, Dorian, Aeolian and Mixolydian modes occur, in roughly descending order of frequency, in Irish traditional music. The Myxolydian mode is quite common in jazz and most other forms of popular music. The Lydian mode is because of its dream-like sound most often heard in soundtrack and video game music. Composers who have made use of modes, to a greater or lesser extent, include Chopin, Liszt, Berlioz, Mussorgsky, Borodin, Debussy, Jana&ek, Sibelius, Vaughan Williams, 244 Kodaly, Holst, Falla and Bartok. Chopin used modes in his mazurkas for piano, Liszt used modes in his piano Sonata and later piano works and Debussy and Bartok used them extensively in their piano works. In the Liszt Sonata motif A (the double drumbeat and descending scale) appears at the beginning in the prologue, two-thirds way through and at the end of the Sonata. This may be achieved on the piano by playing seven consecutive white notes starting on E. In this case Liszt starts on G so he uses three black notes so as to achieve the correct intervals. Its nickname derives not from Beethoven but from an 1832 description of the first movement by the poet Ludwig Rellstab who said that it reminded him of the moonlight shining upon Lake Lucerne. The first movement, although a slow movement, is actually in first movement sonata form, the middle movement is a conventional minuet and trio and the final movement is in rondo form. The remaining leaves of the autograph are in the Beethoven-Archiv in Bonn and have been reproduced in facsimile edition. These markings were presumably inserted by Beethoven after the rest of the manuscript was penned. Traditional pedalling and unchanged pedal the traditional pedalling requires the pianist to use the sustaining pedal throughout the whole of the first movement but to change it constantly in accordance with the changing bass octaves and harmonies. The unchanged pedal requires the pianist to use the sustaining pedal throughout the whole of the first movement and to keep it unchanged throughout. Czerny was the piano teacher of Franz Liszt and a close friend of Frederic Chopin. He did not enter into any discussion on the matter as he did in relation to the slow movement of the C minor piano concerto where, in any event, the pedalling is marked by Beethoven to be regularly changed. There is a crescendo in bars 26-28 and a crescendo in bar 58 followed by a piano [subito] in bar 59. In addition, a crescendo and accelerando may, according to Czerny, be inserted in bars 32-35. The desired sustaining of the notes in this simple melody, which was supposed to sound like a horn, was not solved on the short-toned piano, because all the notes sounded together. Accomplished pianists in the second decade were disturbed by the senza sordini instruction because by that time the pianos could already produce a fuller tone, and the performers had at their disposal the pedal which they could use effectively. Chopin, however, was a friend of Carl Czerny (1791-1857) and was also a friend of Franz Liszt (1811-1886) at least during the 1830s. Liszt pupil Alexander Siloti heard Liszt perform it privately in 1885 at the Hofgartnerei, Weimar and left a glowing account in his memoirs. If Liszt had used the unchanged pedalling, or anything like it, it may be argued that surely Siloti would have made some comment as to this, yet nothing has come down to us from Siloti as to this. The Edison wax cylinder recording process was in existence in the 1880s but it seems that Liszt was never asked to record his piano playing. It may be argued that if Rubinstein had used such an unusual pedalling as the unchanged pedalling, or anything like it, surely Siloti would have also included a comment about that. Rubinstein refused to record for the Edison wax cylinder and otherwise did not survive into the recording age. Critique of Anton Rubinstein view It may be argued that Anton Rubinstein supported the traditional pedalling. Hans von Bulow (1830-1894) was an early pupil and lifelong friend and musical colleague of Franz Liszt.

But this is the point 1 want to come to anxiety symptoms diarrhea order hydroxyzine 10 mg mastercard, namely that his hostility to political literature and a political aesthetic does not necessarily mark Tolstoy out as a slavophile in that parallel opposition which is the ideological one anxiety symptoms similar to heart attack generic hydroxyzine 10mg online. It will be useful anxiety yawning order hydroxyzine cheap online, in this regard anxietyzone symptoms poll purchase hydroxyzine uk, to examine chapter 1 Boris Eikhenbaum anxiety lyrics order hydroxyzine 25 mg amex, Tolstoi in the Sixties anxiety symptoms 4-6 order discount hydroxyzine on-line, trans. Dufeld White, Ann Arbor: Ardis, 1982, 135: "The historical novel had been chosen precisely with the intention of being anti-historical. I discuss the position of Wr and Peace in the tradition of the historical novel in "The Historical Novel Today" below. Lenin, "Leo Tolstoy as the Mirror of the Russian Revolution, " in Collected Works, Vol. Prince Andrew, in the coach carrying him to Brno, is elated ("excited but not weary'), not least at the prospect of a promotion his choice as messenger implies: yet he understands this primarily through a fantasy about the reception of other people ("picturing pleasantly to himself the impression his news of a victory would create"). When spoken by Tolstoy, the very word "happiness" assumes a special meaning, as the opposition of "natural" human right to ali other "civil" rights and obligations, as the juxtaposition of feeling to mind and of nature to civilization. And the mind only fabricates for each action its imaginary causes, which for one persan may be called convictions or faith and for the people (acting collectively in history) is called idea. But there is no such word; and its absence opens up a space fo r representational innovation at the same time that it condemns theoretical presentation to the inescapable attempt to distinguish two homonyms which have nothing to do with each other. It has preconditions but cannot be caused; and clearly, it cannot be the aim or end of any action or project, save in the sense in which Prince Andrew imagines "the feelings of a man who has at length begun to attain a long-desired happiness, " that is to say, who imagines it from the outside or in the future, and also substitutes fo r it sore other kind of satisfaction. But let us now return to Prince Andrew; he is generous with sore wounded soldiers on the way to the town; arriving at dark "he felt even more vigorous and alert, " recalling the details of the battle and imagining the questions that might be put to him (161). And the chapter concludes thus: "When Prince Andrew left the palace he felt that ali the interest and happiness the victory had aforded him had now been left in the indiferent hands ofthe Minister ofWar and the polite adjutant. Nothing much happens to Prince Andrew; we have already encountered the prickliness of his character in earlier chapters, so nothing fu rther is supplied on that score; ali that transpires here is a gamut of afects, of which the chapter is a kind of fever chart or musical partition. Nor is this series of moods ofany great importance to the portrayal of Prince Andrew a a character, although we may weil be surprised at the degree to which his fantasies are driven by ambition, startled indeed at the degree to which his reverie is taken up with fantasies and day-dreams in the frst place (from the outside he seemed altogether a graver and more dignified personage). What is thus crucial here is the changeability of the afects, which in turn provides the registering apparatus, the legibility ofthe various states. The chapter is the story of the afects themselves, and not of external events or plot developments; and vivid as the characters are, the very density of the afects themselves secures an impersonal existence fo r them, above and beyond those individual subjects which were once the protagonists of realism. But the evidence is abundant, not least owing to his incessant self-examinations, which seem to have been provoked by his own bewilderment at this temperament, which he understood to be something a little more significant than a mere character trait. Each of these must be momentarily subdued according to its dynamic, while the mode of calm-always ephemeral-will itself be dissolved into a new kind of agitation. Temporality is agitation in its very nature, it cannot remain in a state of tranquility fo r long, the latter always evolves back into a new fo rm of agitation. The butterfy passion is the incessant movement from one interest to another, from one activity to another. The Variating (orAlternating or Butterfy) is a need fo r periodic variety (changing occupation or pleasure every two hours); we might say that it is the disposition of the subject who does not devote himself to the "good abject" in a stable manner: a passion whose mythical prototype is Don Juan: individuals who constantly change occupation, manias, afections, desires, "cruisers" who are incorrigible, unfaithful, renegade, subject to "moods, " etc. Every muscle of his thin face was now quivering with nervous excitement; his eyes, in which the lre of! Ai these attributes of a character would seem to objectif such a figure and indeed to reif it to the point where we would expect it to remain fxed in externality and radically distinct from any first or third "point of view. But fo r the most part these descriptions seem merely to underscore the arbitrariness of the corporeal; or better still, its contingency. We must consequently posit the Tolstoyan character not as sore organic unity, but as a heterogeneity, a mosaic of fragments and diferences held together by a body and a name (that is to say, a past, a unique destiny, a specifie story). Here is Prince Vassili calling his two sons fo ols ("a quiet one" and "an active one"): "He said this smiling in a way more unnatural and animated than usual, so that the wrinkles round his mouth very clearly revealed something unexpectedly coarse and unpleasant. I will describe this novelistic attention as a kind of "narcissism of the other, " which momentarily flflls the commandment to "treat thy neighbor as thyself" the healthy self (but we need not enter on the long tradition fo r which it is the health and vitality of Tolstoy which is extolled ali above all19) necessarily includes a "healthy" dose Sities, 149). Yet these characterological changes over time reveal the same phenomenon ofdissonance to be found in individual scenes, and betray the deeper impersonality Tolstoy has discovered beneath the surface variability of character, temperament and indeed mood and afect. This is the sense in which there are no villains in Tolstoy (another fe ature of the great realists to be discussed later on): fo r categories of good and evil are, as we shall see, survivais of those melodramatic fo rms and stereotypes that realism must necessarily overcome. Ye t we must here add in a qualification: part ofthe negative judgement on Napoleon is a judgement on society and on its glamorization ofhim, a judgement on a collective hero-worship akin to vanity and social ambition on the individual level. Tat he himself is aware ofit can then be documented by its return in the very content ofthe narrative as an afective phenomenon in its own right. Old men and dull dispirited young ones who looked at her, afer being in her company and talking to her a little while, felt as if they too were becoming, like her, full of! Ai who ralked to her, and at each word saw her bright smile and the constant gleam of her white teeth, thought thar they were in a specially amiable mood thar day. While saying this, he never removed his smiling eyes from her face, her neck, and her bare arms. When she was not looking at him, she felt thar he was looking at her shoulders, and she involuntarily caught his eye so thar he should look into hers rather chan this. But looking into his eyes she was frightened, realizing thar there was not thar barrier of modesty she had always fele between herself and other men. When she turned away she feared he might seize ber from behind by her bare arm and kiss ber on the neck. They spoke of most ordinary things, yet she fele thar they were doser to one another than she bad ever been to any man. Chapter V Perez Gald6s, or the Waning of Protagonicity IfZola is the Wa gner ofnineteenth-century realism (and George Eliot perhaps its Brahms), then Benito Perez Gald6s is its Shakespeare, or at least the Shakespeare of the late comedies and romances. The absence of Gald6s from the conventional nineteenth-century list ofthe "great realists"-even one limited to Europe-is more than a crime, it is an error which seriously limits and deforms our picture ofthis discourse and its possibilities. Now it will be a matter ofthe character system as such, organized around the prodigious Balzacian "method" of the "retour des personnages, " at the point at which Gald6s (like Faulkner later on) realized that he had a whole novelistic world to administer, and not just one or two local episodes to record. Yet what 1 will show is that the efects ofthis seriai organization in Gald6s are quite diferent from the consequences in La Comedie humaine, where in principle even the most minor characters have the right to become protagonists oftheir own separate novels. Here in Gald6s, on the contrary, we will witness what 1 will cali a deterioration of protagonicity, a movement of the putative heroes and heroines to the background, whose fo reground is increasingly occupied by minor or secondary characters whose stories (and "destinies") might once have been digressions but now colonize and appropriate the novel fo r themselves. The transmission ofinformation about plot development is no longer the principal function of the voice here, but rather its qualities in the present of time. Joyce meanwhile proudly and wistfully described the characters of Ulsses as "the last of the great talkers. Their inner life must not be marked or personalized; they must not be allowed to become other to us or to be visible from the outside. It is our old friend the impersonal consciousness, the eternal present of an anonymous and purely fo rmai awareness without content, that is required fo r them. But in the world of secondary characters irony is back in place: the movement out ofpoint ofview to the observer ofotherness and back, the paradoxical combination of outer and inner distance which brings the external judgement of the recit to bear on the internai experience of the temporal present. Yet the perspective seems to demand sore further engagement on the part of the novelist, as Wayne Booth famously demonstrated-some ultimate judgement, which can range from savage to indulgent but which in Gald6s takes the fo rm of a permissiveness which can intensif into a glacial indiference, as the character who is its object inevitably destroys herself the point I have wanted to make here, but have only presupposed, is that in fact "the Bringas woman" is not a protagonist at all: she is preeminently a minor character who has unaccountably been allowed to become the center of a novel in her own right. Yet under normal circumstances, this kind ofreaction would make sense only when a lighter or more occasional product of this kind stands side by side with the truly central or major productions with which we compare it: the narrative masterpieces for which this episode can in a pinch be seen as a preparation and warming up. Still, as the very title suggests, this one certainly seems to have protagonists, and it will be in order fo r us to test our hypothesis against so monumental a text. On the one hand, the perfect wife, Jacinta, cannot bear children; on the other, the perhaps less than perfect husband, Juanito, without being at all dissatisfied with his wife, also knows a second love-or perhaps it is better to call it amour-with a lower-class girl (Fortunata) who does in fact bear him a son. But is there any point in telling this immemorial story again, or rehearsing its now structuralist restoration of order On Rosalias temperament as a cultural trait, see Maurice Vallis, 7he Culture of Cursilera, Durham: Duke University Press, 2003; I am indebted to Stephanie Sieburth for this reference. What is more significant from the standpoint of plot construction is its graduai withdrawal from the conventional drama of the love triangle (or the novel of adultery). Meanwhile, these pages are crowded with minor characters of ali kinds; numerous fa mily acquaintances and schoolchums of Juanito, fo r example, the latter giving rise to any number ofGald6sian novels in their own right, the fo rmer providing at! The "other woman" is always a secondary character: in the novel of adultery it is the wife (guilty or ofended) who seizes protagonicity from the husband, the male lead. She is able to combine the recit-like destiny of the victim with the central consciousness of the primary figure, thereby (for a time) winning thar possibility of authenticity on which we have already commented. Perhaps it might be better to wonder whether he does not seize a chance to live himself in each of his characters, major or minor, and thereby, like "el amigo Ma nso, " to populate a somehow posthumous life. At any rate, as far as the fo rmai developments are concerned, sore obvious sociological contexts can be mentioned. So it is that at the very outset ofthis immense journey which is Fo rtunatay]acinta, immediately after a summary account of the hero and his generational friends, the students, and then a sketch of the family itself, suddenly a single figure absorbs our attention in a brilliant and detailed portrait: it is Estupina, the "friend of the family. En 1871 conod a este hombre, que fundaba su vanidad en haber visto toda l historia de Epafa en el presente siglo. Habla venido al mundo en 1803, y se llamaba hermano de fecha de Mesonero Romanos, por haber nacido, como este, el 19de julio del citado afo. Era muy joven cuando entr6 de hortera en case de Arnaiz; alli sirvi6 muchos anos, siempre bien visto del principal por su honradez acrisolada y el grandisimo interes con que miraba todo lo concerniente al establecimiento.

As a result anxiety depression symptoms order hydroxyzine 25mg with amex, many of these concerns barely register when future policies are being crafted anxiety fever discount hydroxyzine 10 mg mastercard. Instead anxiety uptodate 10mg hydroxyzine with amex, one should seek to come up with a philoso phy of action to help design policies that have no need for such logic as their inputs anxiety xanax dosage purchase hydroxyzine with american express. Instead of trying to build a new shiny pillar to foreign policy anxiety symptoms legs cheap hydroxyzine 10mg online, cyber realists would struggle to nd space for the Internet in existing pillars anxiety symptoms frequent urination discount 10 mg hydroxyzine, not least on the desks of regional ofcers who are already highly sensi tive to the political context in which they operate. Instead of centraliz ing decision making about the Internet in the hands of a select few digerati who know the world of Web 2. They would be able to articulate in concrete rather than abstract terms how specic domestic policies might impede objectives on the foreign pol icy front. Instead, they would evaluate the desirability of promoting such ac tivism in accordance with their existing policy objectives. Nor would they give the false impression that on the Internet concerns over freedom of expression trump those over energy supplies, when this is clearly not the case. Instead, cyber-realists would focus on optimiz ing their own decision-making and learning processes, hoping that the right mix of bureaucratic checks and balances, combined with the ap propriate incentive structure, would identify wicked problems before they are misdiagnosed as tame ones, as well as reveal how a particular solution to an Internet problem might disrupt solutions to other, non Internet problems. Cyber-realists would acknowledge that by continuing to irt with Internet-centrism and cyber-utopianism, policymakers are playing a risky game. Not only do they squander plenty of small-scale opportu nities for democratization that the Internet has to offer because they look from too distant a perspective, but they also inadvertently em bolden dictators and turn everyone who uses the Internet in authori tarian states into unwilling prisoners. Cyber-realists would argue that this is a terribly expensive and ineffective way to promote democracy; worse, it threatens to corrupt or crowd out cheaper and more effective alternatives. For them, the promotion of democracy would be too im portant an activity to run it out of a Silicon Valley lab with a reputation for exotic experiments. Above all, cyber-realists would believe that a world made of bytes may defy the law of gravity but absolutely nothing dictates that it should also defy the law of reason. Were it not for this scholarship, I may have well ended up on the wrong side of the digital barricades. Most important, being one of the rst recipients of an Open Society fel lowship, I tremendously beneted from the necessary support and exibility to conduct much of the research for this book. This 321 322 Acknowledgments was a charming experience, not least because Charles Dolgas, Paula Newberg, and Jim Seevers helped to make it so by providing me with a superb intellec tual environment to work in. They were a very open-minded bunch who helped to challenge my arguments in every possible way. In addition, Chanan Weissman and Tracy Huang provided me with ex cellent research assistance. Andres Mar tinez and Steve Coll at the New American Foundation were also kind enough not only to award me a fellowship for the same period but to let me spend the bulk of my fellowship time at Stanford, an extremely exible arrangement that I greatly appreciate. Dozens of people have helped me to hone and package my ideas on stage and in the media. I have many other editors to thank: Ryan Sager at the Wall Street Journal, David Goodhart and James Crabtree at Prospect, and Michael Walzer at Dissent. Without their guidance and encouragement, it would have taken much longer to get my argument out into the open. My editors at PublicAffairs, Niki Papadopoulos and Lindsay Jones, have been a true delight to work with. Open Networks, Closed Regimes: the Im pact of the Internet on Authoritarian Rule. The Facebook Effect: the Inside Story of the Company That Is Connecting the World. Reconsidering Comparisons of Mediated Public Participation in the Print Age and the Digital Era. Broadcasting Freedom: the Cold War Triumph of Radio Free Europe and Radio Free Liberty. Post-Broadcast Democracy: How Media Choice Increases Inequal ity in Political Involvement and Polarizes Elections. The Quality of Life in the Ger man Democratic Republic: Changes and Developments in a State Socialist Soci ety. Warriors of Disinformation: American Propaganda, Soviet Lies, and the Winning of the Cold War. Reconceptualizing the Chinese Audi ence of the Voice of America in the Cyber Era. Public Order Policing, New Media Environments and the Rise of the Citizen Journalist. Information and American Democracy: Technology in the Evolu tion of Political Power. Post-Broadcast Democracy: How Media Choice Increases Inequality in Political Involvement and Polarizes Elections. The Perils and Promise of Global Transparency: Why the Infor mation Revolution May Not Lead to Security, Democracy, or Peace. Machines as the Measure of Men: Science, Technology, and Ide ologies of Western Dominance. Control Revolution: Technological and Economic Origins of the Information Society. The Social Con struction of Technological Systems: New Directions in the Sociology and History of Technology. More Work for Mother: the Ironies of Household Technology from the Open Hearth to the Microwave. The Tools of Empire: Technology and European Imperialism in the Nine teenth Century. In the Absence of the Sacred: the Failure of Technology and the Survival of the Indian Nations. The Pilot and the Passenger: Essays on Literature, Technology, and Culture in the United States. Leonardo to the Internet: Technology and Culture from the Renaissance to the Present. The Chinese Road to High Technology: A Study of Telecommunications Switching Technology in the Economic Transition. Ruling the Waves: Cycles of Discovery, Chaos, and Wealth from Compass to the Internet. Dreams of Paradise, Visions of Apocalypse: Utopia and Dystopia in American Culture. See Movement Against Illegal 190, 192 Immigration and social network lawlessness, 257 Dreazen, Yochi, 2 and social network surveillance, 155 Dreyfus, Hubert, 185 See also Social networks Dunlap, Orrin, 280 Face.

The story should express your thoughts and feelings about Broadway theatre productions and the role they play in your life anxiety symptoms in children checklist order hydroxyzine 10mg otc. Please include at least these characters: (1) you anxiety symptoms heart palpitations discount hydroxyzine 10mg amex, (2) Broadway theatre productions anxiety symptoms knee pain hydroxyzine 10 mg without a prescription, and (3) a similar form of entertainment you might enjoy health anxiety symptoms 247 order cheap hydroxyzine. The average transcript word count was 11 770 for Frequents and 10 170 for Infrequents (approx imately twice the word length of this chapter) anxiety symptoms vision problems cheap 10 mg hydroxyzine mastercard. Findings Our analyses reveal that informants perceive the Broadway experience as an escape from their daily lives anxiety symptoms vs als buy 10 mg hydroxyzine otc. Although this nding is not a surprise, our analyses reveal very interest ing dimensions of escape in terms of deep and thematic metaphors (see Table 30. Another participant, using a picture of a man 404 Handbook of qualitative research methods in marketing Source: Shutterstock. Our ndings suggest that anticipating the escape for Frequents is related to the opportunity to replenish and revi talize themselves: the woman in the boat represents the cyclical process where my life started with the introduction of culture, and the exposure to it led to other curiosities. It led to my education, my renement, Consumption experiences as escape 405 Source: Shutterstock. I go and have a fancy dinner and have a couple of drinks, and I really go all out, because you deserve it so. The escape Four deep metaphors capture the essence of escape via the Broadway production: con tainer, force, resource and connection. Although each is discussed individually, the nature of the escape and these metaphors are inextricably interrelated. With regard to the former, informants escape from the daily grind to a safe place where they can lose themselves, or protect themselves (and possibly others) from work, the phone, kids, parents, burdens and other travesties. Kind of looking back at the cat out there, the stress is out there, but hopefully this little guy is safe behind the couch and he may not be thinking about that cat anymore. I was think ing the same thing when you are in a theater, and you are not focusing on what is outside the doors. You surrender your sense of disbelief to the artistic experience of being at the theatre. Connection is a prominent deep metaphor in our data, with several connection-related thematic metaphors: connection to self, connection between theatergoers and friends/ family/other theatergoers who are attending the production, and connection between the atergoers and performers (present, as well as past). This connection is illustrated primarily with pictures from family albums and discussion about the import ance of having quality time, and building a tradition with family members. All theatergoers, even though they may not be acquainted, co-create a communal experience, collectively experiencing a unique moment in time. Our theatergoers also sense a strong connection to the Broadway performers, recount ing that it is the audience and the performers who co-create a forceful experience. The adrenaline starts to ow, and I think it makes their per formance better because they are going to feed o the crowd. I work in corporate America, and I like what I do, but what I do is not all that dierent. It helps relieve the monotony of doing the same thing always, every day, over and over again without any escape from work or school or what ever it is that we might spend the majority of our life doing. The vibrancy of the Broadway experience, the sensory and cog nitive stimulation, make for vivid, easily recalled memories. Our substantive ndings illustrate that the Broadway experience is concurrently an aesthetic (Joy and Sherry, 2003), extraordinary (Arnould and Price, 1993) and ow (Csikzentmihalyi, 1990) experience. Broadway per formances provide consumers with multisensory, cognitive stimulation, an embodiment such that they are able to escape their everyday lives. Informants willingly expend time and eort to create the escape for which they express intense anticipation. Escape is an indul gence, a treat, as well as a source of reinvigoration, nutrition for the body and soul. We nd inklings of several dierences between Frequents and Infrequents in their Broadway experiences that other methods might fruit fully explore. The temporality of experiential consumption, from the planning stage to the reective stage, is evident in our ndings. Collectively our ndings and those across a variety of con sumption experiences (Arnould and Price, 1993; Celsi et al. Moreover the commanding nature of the Broadway performance provides vivid and dominating memories, long-lasting and easily recalled, that serve to be self-seducing, memories that lurk well after the experience and are also a source of fodder for discussion among family Consumption experiences as escape 417 and friends.

It has been discussed with different angles and within different contexts of life anxiety symptoms explained generic hydroxyzine 25mg line. Perceived competence Competence anxiety 9 year old order hydroxyzine 25 mg with amex, Autonomy and Relatedness are the basic human psychological needs from the prospect of self-determination theory anxiety symptoms rapid heart rate cheap hydroxyzine online mastercard, and meeting those needs is critical for improvement of life anxiety in dogs order cheap hydroxyzine line. How one perceived oneself skilled and effective in a particular situation is known as perceived competence anxiety symptoms 97 buy hydroxyzine uk. Competence is not just an ability or power to perform some task it also includes personal importance to that task (Rodgers anxiety journal prompts buy hydroxyzine discount, Markland, Selzler, Murray, & Wilson, 2014). A number of studies (Bandura & Cervone, 1983; Harter & Jackson, 1992) have shown that perceived competence influences intrinsic motivation. When people gave importance to some task they feel more confident to complete that task. Perceived competence level influences motivation level to perform some task (Ferla, Valcke, & Schuyten, 2010). The feelings that how much a person is connected or engaged with other person is perceived relatedness. Self-determination theory indicates that managers need more to approach their sub-ordinates to establish a friendlier and supportive environment to create the feelings of relatedness in them (Marshik, Ashton, & Algina, 2017). A high level of perceived relatedness increases motivation level of employees (Leversen, Danielsen, Wold, & Samdal, 2012). Different researches (Furrer & Skinner, 2003; McAllister & Irvine, 2002) indicates that employees feel more confident, engaged and connected to organization when they are intrinsically motivated and they work hard when they know that managers cares about them and gave value to their thoughts and feelings. When managers or organization gave importance to its employees it creates a bond between the both and employees feels a connection with their organization and their level of perceived relatedness increases which make them more confident and increases their willingness for change. Perceived Autonomy Perceived autonomy is a vital part of self-determination theory, it is as much important as perceived competence and perceived relatedness are. When someone have power, capacity or authority to do some course of action or to make some decision on its own without any dependence it is known as self-autonomy. Immanuel Kant defined perceived autonomy in three different phases, Firstly autonomy is the privilege for one to settle on their own choices barring any impedance from others. Autonomy may also cause employees to freely choose and set their goals, set working methods and working strategies which employees think are best suited for organization and for themselves (Skaalvik & Skaalvik, 2014). When organizations get knowledge managed in a good systematic way it adds value to the organization and also increase the goodwill of the organizations. According to Knowledge management theory it has two parts one is codification and other is personalization. Codification strategy If talk about just the word codification, it is a process of organizing rules or laws according to a system or plan of an organization for its betterment. In the codification strategy knowledge is extracted from the person who developed it, made independent of that person, and reused for various purposes in the organization. Personalization also known as customization, it is a process of tailoring a service or a product according to the needs of specific individuals, A number of organizations use personalization to improve customer satisfaction, marketing results, branding, and improved website metrics as well as for advertising, while the personalization strategy focuses on dialogue between individuals. Knowledge management strategy is successful when corporate performance is improved. If we manage codified knowledge we can save time (Haas & Hansen, 2007) and we can improve coordination (Wu & Lin, 2009). According to previous literature (Ofek & Sarvary, 2001) personalization strategy improves quality. Personalization strategy Personalization is the second strategy in the knowledge management theory (Hansen, Nohria, & Tierney, 1999). Individuals in the organization share their knowledge with their colleagues via personal relations or person-to-person interaction (Storey & Kahn, 2010). There could be two mechanisms in personalization strategy, one is formal mechanism and other is informal mechanism (Storey & Kahn, 2010). A formal mechanism deals with issues such as project meetings while informal mechanism deals with coffee break conversations and/or unscheduled meetings. The sharing of tacit knowledge which is hard to communicate acquire and store within individuals is resulted by personalization strategy (Storey & Kahn, 2010). Personalization strategy is as important as codification is, but the requirement levels of implementation of the both codification and personalization strategies is identified by the organization according to its procedure, environment and needs. For some people it means a source of joy, benefits, or advantages, whereas for others it is a source of suffering, stress, and disadvantages (Bouckenooghe, 2010). According to our knowledge, the first scholarly article on attitudes toward change appeared in the late 1940s and it addressed ways to overcome resistance toward change (Bouckenooghe, 2010). In 1957, about a decade later, Jacobson devised the more positive term readiness for change (Bouckenooghe, 2010). Readiness for change is considered and used as the dependent variable in both conceptual and empirical studies. It has been defined in the literature as to break down existing structures of an organization and create new ones (Shah & Ghulam Sarwar Shah, 2010). When an organization want change it overhauls its systems and procedures completely or partially. A change is an alteration of an organization between two points in time (Barnett & Carroll, 1995). A change in the organization may create anxiety uncertainty, and ambiguity in employees because each employee has different life experiences, motivational levels, knowledge, attitudes, socio-demographic characteristics, and behavioral patterns (Shah & Ghulam Sarwar Shah, 2010). A Change in organization whether small or large affects employee attitudes and behaviors because of shifting from one stage to another (Shah & Ghulam Sarwar Shah, 2010). Readiness for change is considered as an important factor for successful change initiatives (Rafferty, Jimmieson, & Armenakis, 2013). Sufficient level of readiness is required for both before and during change implementation process to achieve a smooth transition (Choi & Ruona, 2011). On the other hand, when level of readiness is low then efforts to implement change face resistance (Prochaska, Redding, & Evers, 2015; Vakola, 2014). Bandura (1977) also states that self-efficacy is self-belief that one can perform a particular action on its own. Individuals having high self-efficacy will perform better in a particular task than individuals having low self-efficacy. Organizations cannot implement change if its employees have low or no self-efficacy for change implementation. Successful people have built-in self efficacy for the thing they are successful in and in the same way failure undermines self-efficacy (Bandura, 2010). When employees enjoys success at their workplace they try hard to make the difference for their organization. If a person has a high perceived self-efficacy he or she will set high challenging goals for itself (Bandura, 2010). People try to avoid task in which they think their efficacy is low while they go to perform task in which their efficacy is high. Wrongly perceived self-efficacy can lead to over estimation or over confidence and it can also causes havoc results. Bandura, A (1977) also states that a person may perform extraordinarily, adequately or poorly with the same knowledge and skills depending on the fluctuations in self-efficacy thinking. Collins (1982) performed experiment on children to know the relationship between self-efficacy and its contribution to performance. The children with higher level of self-efficacy performed better than children with low level of self-efficacy. Higher level of self-efficacy affects motivation positively while lower level of self-efficacy affects motivation level negatively. Organizational change implementation A Process by which organizations move from their one state to some other desired state to increase their effectiveness is known as organizational change (Rosenbaum, More, & Steane, 2018). To be competitive and their survival organizations continuously pressurized to adopt new technologies and procedures (Anyieni). Doing thing differently in order to catch up new changes in the organization environment is called change. A change of any type or in any part of the organization may affect the whole organization. Taking proactive change, it should necessarily be planned to get prepare the organization for future challenges. On the other hand a reactive change may be automatic response to a change taking place in the organization. A change is a structured approach to transforming individuals and teams of an organization from one state to another desired state. It has to be done to achieve maximum benefits for all the stakeholders of organization and to minimize risk and failures ("Literature Review On Organisational Change Management, " 2016). These are the set of rules and agreements of how to tackle the research problems and conducting the research (Creswell, 2003; Rahi, 2016a, 2016b). So these paradigms are basic research assumptions of how to carry on the research (Samar Rahi, 2017; Rahi, Ghani, & Alnaser, 2017; R. This study is at deductive level in its approach because we already have a theory generated by researchers and we are not inducting any new theory rather we are to testing a theory by collecting the fresh data from respondents and observe the findings by applying various statistical tests (Rahi, 2016a; Samar Rahi, 2017). Qualitative Method Qualitative method as the name suggests is related to some sort of quality and is used to collect the in-depth details on a particular research area (F Alnaser, Ghani, & Rahi, 2018; F. According to Ghani, Rahi, Yasin, and Alnaser (2017) explained that this approach is used when researcher wants to observe or interpret an environment with the intention to develop a theory. In this study we are not developing a new theory rather we are testing existing theory with some statistical tests so this method is not recommended for this study (F. Quantitative Method Quantitative method is a scientific technique which is used to identify results by using data quantitatively and its grounds can be identified in positivism (Grinnell Jr & Unrau, 2010; Samar Rahi, 2018; Rahi, Alnaser, & Ghani, 2019) and this approach is mostly used by the Positivists. Quantitative method has been applied for this study as the research has not been inducting new theory rather dealing and examining an existing theory by applying new statistical tools (Rahi & Abd. Research Design Research Strategy or design means that the collection and interpretation of data is in a systematic order and describing that data in the same order(Rahi, 2019; Rahi & Abd. So, for this particular research, author used the strategy for research which is illustrated below: First of all, an area of interest to research on was selected and accordingly a topic was chosen which needs to be studied in real. The topic was further purified according to the instruction of research supervisor. There were a number of studies that were conducted to check the impact of these variables but particularly organizational change implementation and moderating effect of Self-efficacy was not discussed in this context. After the collection of data, analysis was made on the collected data in accordance to the research question and objectives of the study which was followed by a discussion on the results which are produced from the data by applying statistical tests. Furthermore, results and findings of the study were presented on next level and suggestions and recommendations were made for the organization to made better efforts while implementing change in the organizations. In the end, list of complete references is also generated to reference the material that was discussed in the study. Population and sampling On whom people, items and/or organizations we want to apply our study and the results of the study is the population of the study (Samar Rahi, 2017; Rahi, 2019; Rahi, Abd. Due to some constraints we cannot examine the whole population therefore we select a representative part of that population to study on (Rahi & Abd. The constraints we cannot examine whole of the population are but not limited to Cost, time, work burden and materiality. A smaller part of a population has an ability to get inference about the larger part or whole of the population (Malhotra & Birks, 2007). Population of the study is employees of organizations having direct dealing with the customers.

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