8- 9: The Generational Rhythm of American Politics 10- -- 126- All these studies have provided basic data for the development of a 127: comprehensive theory of the generational rhythm of politics. Most of 128- their authors have not attempted to formulate such a theory and -- 296- mid-1960s? The answer to these questions lie in a proper 297: understanding of the temporal rhythm of political life in the United 298: States. (Rhythm in the sense used here refers to the structured flow 299- of time and events.) 300- 301: The American political system, like all others, has a rhythm of its 302: own, which, in turn, is linked with the overall rhythm of human 303- time. By tracing those links, we can begin to lay out a discernible -- 306- happen) when they do.^25 The historical pattern of political events 307: in the United States follows a generational rhythm which flows in 308- cycles ranging from 25 to 40 years each, approximately the -- 310- life. The sequence and impact of discrete political events is 311: substantially shaped by the rhythm of the generations, even though 312- the events themselves may seem random. Thomas Jefferson noted this -- 379- appear to move in sufficiently precise generational units to account 380: for the rhythm of social and political action. If we look closely 381- and carefully, we can map the internal structure of each generation -- 983- history, the crucial points of demarcation are very much in tune 984: with the generational rhythm of events. They are of two kinds; 985- first, the critical elections that determine who shall govern in a -- 1253- 1254: To suggest that a generational rhythm is clearly apparent in 1255- American politics is not to suggest that events move in any 1256: lock-step, that the rhythm of every generation is exactly the same 1257- as that of every other, or that there are no exceptions to the -- 1264- 1265: Chapter 2 has focused in detail on the generational rhythm of 1266- American politics. Ultimately derived from the biblical -- 1272- theory. A more systematic biostatistical basis for the generation 1273: rhythm was provided by Thomas Jefferson. Jefferson points the way to 1274: understanding that the rhythm of generations is based upon human 1275- social rhythms generally. 1276- 1277: Political events follow the rhythm of the generations, both in their 1278: internal rhythm and on an intergenerational basis. Centuries 1279- represent three generations and also have a certain pattern to them. -- 1398- 25. The discussion to be advanced in the following pages was first 1399: presented in Daniel J. Elazar, "Generational Rhythm of American 1400- Politics," American Political Quarterly (January 1978) vol. 6, no. 48- adopted and abandoned poetic forms by analyzing their narratives on 49: rhythm. I explore the political salience of rhythmical transformations 50- and argue that the secular has been a vital and complex force in the 51- modern abandonment of metrical discipline. The secular affects how 52: poets seek to modernize their rhythm, vocabulary, and relation to 53- public. It also affects, I conclude, the ways in which anthropologists -- 74- 75: Rhythm ; Transformation ; Modernization ; Poet ; Modernity ; Poetry ; 76- Israel ; Palestine ; Near East ; 14- 15: Title: The Rhythm of Political Oratory 16- Author: [14]Varvara Danilina -- 28- My doctoral dissertation was completed after four years of research on 29: the rhythm of British and American political oratory. I sought to 30- establish the rhythmic norm for political public speech and to find -- 35- political science. 36: There is no single linguistic perspective on speech rhythm. For 37- instance, such distinguished scholars as D. Crystal and D. Abercrombie -- 39- to Moscow University school of thought, to which I belong, speech 40: rhythm is created by a blend of phonetics, syntax and meaning of an 41- utterance. As a result of my research, I established rhythmic -- 54- own contribution consisted in adapting this method to the study of 55: public speech, describing the typical rhythm of political oratory, and 56: challenging some popular assumptions about speech rhythm. 57: As for the impact of speech rhythm upon listeners, I started by 58- analyzing audiences in order to understand psychological, social and -- 74- Congress in the aftermath of September 11, 2001. 75: To analyze the reactions of these audiences to the rhythm of Prime 76- Minister Major and President Bush's parliamentary addresses I used M. -- 81- These phrases and syntagmas happened to be quite similar in terms of 82: rhythm to other stretches of speech in the same addresses. Moreover, 83- there proved to be little rhythmic difference between John Major and 84- George Bush's speeches. In short, my research demonstrated that there 85: is no direct interconnection between the rhythm of a public address and 86- audience responses. 86- * Chorus vocals (may include horn players) 87: * Rhythm guitar(s) (plays funk strumming pattern) 88- * Tenor guitar (plays a finger-picked osinato groove) -- 94- * Organ/keyboards 95: * Rhythm [51]conga #1 96: * Rhythm [52]conga #2 97- * Solo (lead) [53]conga -- 129- * [74]Bebe cool lives in Uganda famous for his reggea mixed with 130: luganda pop and English making an Afrobeat rhythm in Uganda known 131- as Luga flow.He also lives in kampala. -- 155- * [83]Weird MC Rap artiste who occasionally experinments with 156: Afrobeat rhythm. 157- * [84]Vibe Squad A Ghanaian music crew formed by EaZZY Da Opemfour -- 160- afrobeat star in East Africa and central Africa.He is known for his 161: rhythm of 2 pac shakur 162- * [86]Mr. Something Something Canadian afrobeat group -- 298- 17. http://en.wikipedia.org/wiki/Funk 299: 18. http://en.wikipedia.org/wiki/Rhythm 300- 19. http://en.wikipedia.org/wiki/Percussion_instrument 67- 68:12 12/2006 [38]Compose to a Vertical Rhythm 69- -- 76- limitless choice of arbitrary quantities." So says the typographer 77: Robert Bringhurst, and just as regular use of time provides rhythm in 78: music, so regular use of space provides rhythm in typography, and 79: without rhythm the listener, or the reader, becomes disorientated and 80- lost. 81- 82: On the Web, vertical rhythm - the spacing and arrangement of text as 83- the reader descends the page - is contributed to by three factors: font 84- size, line height and margin or padding. All of these factors must 85: calculated with care in order that the rhythm is maintained. 86- -- 89- heading, body copy or sidenote, is the key to a solid dependable 90: vertical rhythm, which will engage and guide the reader down the page. 91- To see this in action, I've created [42]an example with headings, -- 113- 11. } 114: 12. Source: [44]/code/compose-to-a-vertical-rhythm/1.txt 115- -- 129- With our rhythmic unit set at 18px we need to ensure that it is 130: maintained throughout the body copy. A common place to lose the rhythm 131- is the gaps set between margins. The default treatment by web browsers -- 133- this would give a spacing between the paragraphs of 12px and hence 134: throw the text out of rhythm. If the rhythm of the page is to be 135- maintained, the spacing of paragraphs should be related to the basic -- 146- 5. } 147: 6. Source: [45]/code/compose-to-a-vertical-rhythm/2.txt 148- -- 157- 4. } 158: 5. Source: [46]/code/compose-to-a-vertical-rhythm/3.txt 159- -- 179- adjusted to fit. The temptation is to set heading margins to a simple 180: 1em, but in order to maintain the rhythm, the top and bottom margins 181- should be set at 1.286em so that the spacing is equal to the full 18px -- 188- 6. } 189: 7. Source: [49]/code/compose-to-a-vertical-rhythm/4.txt 190- -- 200- 6. } 201: 7. Source: [50]/code/compose-to-a-vertical-rhythm/5.txt 202- -- 210- 6. } 211: 7. Source: [51]/code/compose-to-a-vertical-rhythm/6.txt 212- -- 215- Sidenotes (and other supplementary material) are often set at a smaller 216: size to the basic text. To keep the rhythm, this smaller text should 217- still line up with body copy, so a calculation similar to that for -- 223- 4. } 224: 5. Source: [52]/code/compose-to-a-vertical-rhythm/7.txt 225- -- 227- 228: One additional point where vertical rhythm is often lost is with the 229- introduction of horizontal borders. These effectively act as shims 230- pushing the subsequent text downwards, so a two pixel horizontal border 231: will throw out the vertical rhythm by two pixels. A way around this is 232- to specify horizontal lines using background images or, as in our -- 238- = 0.0833. I have added a margin of 1½ lines above the border 239: (1.5 × 18 ÷ 12 = 2.5ems), so to maintain the rhythm the border + 240- padding must equal a ½ (9px). We know the border is set to 1px, so the -- 243- 244:Hit me with your rhythm stick 245- 246: Composing to a vertical rhythm helps engage and guide the reader down 247- the page, but it takes typographic discipline to do so. It may seem -- 430- I think its a common misconception that text on the web will always 431: look bland, and you have proved that it can have rhythm and style. 432- * [91]02/01/2007 -- 457- I've been using this article as the basis for designing my site 458: with some "vertical rhythm". Everything is going well except with 459- forms (input, textarea, etc.). I just haven't been able to use css 460: to maintain the vertical rhythm (based on total line height of 461- 18px). -- 492- a px of height on any line that uses it, and that subtly throws off 493: the vertical rhythm for each line and it can add up depending 494- -- anybody else run into this and solve it? -- 497-[106]Anonymous 498: Does this truly keep the vertical rhythm? If you zoom in on the 499- example, you'll see that the descender of the letter g in the H1 500: header "New England" crosses your rhythm marker's background line, 501- while a lowercase g in the following paragraph does not. There -- 506- I find it humorous that this site itself does not compose to a 507: vertical rhythm. I've seen very few online that do. It's so 508- difficult to implement across browsers it is usually brushed aside -- 512-[110]eric 513: I've yet to see any empirical evidence that "vertical rhythm" 514- applied to this degree has any impact on how well a reader is able -- 520- margins -- maybe some actual data -- then I'll be interested in 521: expending the effort needed to support real vertical rhythm. Until 522- then, I just don't see how it's cost-effective. -- 612- 1. http://feeds.feedburner.com/24ways 613: 2. http://24ways.org/2006/compose-to-a-vertical-rhythm#content 614- 3. http://24ways.org/2005 -- 630- 19. http://24ways.org/2006/revealing-relationships-can-be-good-form 631: 20. http://24ways.org/2006/compose-to-a-vertical-rhythm 632- 21. http://24ways.org/2006/showing-good-form -- 648- 37. http://feeds.feedburner.com/24ways 649: 38. http://24ways.org/2006/compose-to-a-vertical-rhythm 650- 39. http://clagnut.com/ 651: 40. http://24ways.org/2006/compose-to-a-vertical-rhythm#article 652: 41. http://24ways.org/2006/compose-to-a-vertical-rhythm#comments 653: 42. http://24ways.org/examples/compose-to-a-vertical-rhythm/example.html 654: 43. http://24ways.org/examples/compose-to-a-vertical-rhythm/example.html 655: 44. http://24ways.org/code/compose-to-a-vertical-rhythm/1.txt 656: 45. http://24ways.org/code/compose-to-a-vertical-rhythm/2.txt 657: 46. http://24ways.org/code/compose-to-a-vertical-rhythm/3.txt 658- 47. http://developer.yahoo.com/yui/reset/ 659: 48. http://24ways.org/examples/compose-to-a-vertical-rhythm/example.html 660: 49. http://24ways.org/code/compose-to-a-vertical-rhythm/4.txt 661: 50. http://24ways.org/code/compose-to-a-vertical-rhythm/5.txt 662: 51. http://24ways.org/code/compose-to-a-vertical-rhythm/6.txt 663: 52. http://24ways.org/code/compose-to-a-vertical-rhythm/7.txt 664: 53. http://twitter.com/?status=Compose+to+a+Vertical+Rhythm+http://24ways.org/200612 665: 54. http://24ways.org/2006/compose-to-a-vertical-rhythm#comments 666- 56. http://julianbh.com/ 667: 58. http://24ways.org/2006/compose-to-a-vertical-rhythm 668- 60. http://www.css3.info/blog/ -- 671- 66. http://www.robweychert.com/ 672: 68. http://24ways.org/2006/compose-to-a-vertical-rhythm 673- 70. http://www.wilsonminer.com/ -- 675- 74. http://clagnut.com/ 676: 76. http://24ways.org/2006/compose-to-a-vertical-rhythm 677- 78. http://www.thewatchmakerproject.com/ -- 681- 86. http://www.stevecochrane.com/ 682: 88. http://24ways.org/2006/compose-to-a-vertical-rhythm 683- 90. http://nateklaiber.com/ 684- 92. http://www.boilerroomdigital.co.uk/ 685: 94. http://24ways.org/2006/compose-to-a-vertical-rhythm 686: 96. http://24ways.org/2006/compose-to-a-vertical-rhythm 687: 98. http://24ways.org/2006/compose-to-a-vertical-rhythm 688- 100. http://tr.im/VRdesign 689- 102. http://www.finestfolkart.com/ 690: 104. http://24ways.org/2006/compose-to-a-vertical-rhythm 691: 106. http://24ways.org/2006/compose-to-a-vertical-rhythm 692- 108. http://voltagecreative.com/ 693: 110. http://24ways.org/2006/compose-to-a-vertical-rhythm 694- 112. http://www.pureandsimpleweb.co.uk/ 2- 3:[5]Fluid Web Typography: Scale & Rhythm 4- -- 31- 32: [28]Fluid Web Typography: Scale & Rhythm 33- Dec 23, 2009 -- 297- alignment suits most purposes most of the time. In order to create a 298: sense of rhythm and movement on your page, helping to guide the 299- reader's eye around and adding visual interest to the page, a little -- 336- Craig Mod combines right-and left-justified columns of text to create 337: motion and rhythm around his page. 338- [71]04-17.jpg -- 350- you are creating and how you want your readers to scan the page. While 351: using a variety of justifications helps create rhythm and motion on 352- your page, it can quickly seem cluttered or obnoxious. Always have a 312- measured in the subjects of our high self-assessment group occurred 313: earlier in the day than the peak of the daily rhythm measured in a 314- previous study [[91]15]. Peak hormonal secretions often shift to the -- 328- Thus, a subject's pattern of melatonin secretion may reflect his or her 329: life rhythm, and melatonin secretion appears to be an important index 330- of circadian rhythmicity. Based on our previous finding that growth -- 439- 17. Nagane M, Yoshimura K, Watanabe SI, Nomura M: Examination of the 440: validity of growth hormone as an index of the biological rhythm in 441- comparison with cortisol and melatonin in Japanese healthy 74- 75:Daily rhythm of cerebral blood flow velocity 76- -- 114- sleep-associated processes or 2) time of day changes in CBFV are due to 115: an endogenous circadian rhythm independent of sleep. The aim of this 116- study was to examine CBFV over 30 hours of sustained wakefulness to -- 131- A non-linear multiple regression, cosine fit analysis revealed that 132: both the CBT and CBFV rhythm fit a 24 hour rhythm (R^2 = 0.62 and R^2 = 133- 0.68, respectively). Circadian phase position of CBT occurred at 6:05 -- 135- difference between these two rhythms (t = 4.9, df = 10, p < 0.01). Once 136: aligned, the rhythm of CBFV closely tracked the rhythm of CBT as 137- demonstrated by the substantial correlation between these two measures -- 142- In conclusion, time of day variations in CBFV have an approximately 24 143: hour rhythm under constant conditions, suggesting regulation by a 144- circadian oscillator. The 90 degree-phase angle difference between the -- 453- clock time for the CBT nadir and CBFV nadir (Synergy software, 454: Kaleidagraph Version 3.6). Third, the minimum of the circadian rhythm 455- of CBT and salivary DLMO were also used as markers of the endogenous -- 478- A 24 hour non-linear multiple regression, cosine fit analysis revealed 479: that the overall mean CBT rhythm (n = 11) fit a 24 hour cosine rhythm 480- (R^2 = 0.62, p < 0.01), Figure [100]1. The mean CBT across all subjects -- 482- non-linear multiple regression, cosine analysis fit a 24 hour cosine 483: rhythm (R^2 = 0.67, p < 0.01), Figure [102]2. The mean CBFV across 484- subjects was 40.6 cm/sec (+/- 0.54 cm/sec). Salivary DLMO occurred 7.7 -- 489- 490:CBFV rhythm is 90 degrees out of phase with the CBT rhythm 491- -- 500- difference between the phase of CBT and CBFV. However, this subject's 501: CBT rhythm was highly unusual, with the nadir occurring at 11:35 am on 502- Day 2. Nevertheless, we felt the most appropriate way to present the -- 554- particularly the 3-4.5 hour phase difference in neurobehavioral 555: functioning relative to the CBT rhythm that has been previously 556- demonstrated in constant routine protocols [[111]25]. -- 624- between Et [CO2 ]and CBT is similar to that found by Spengler et al. 625: [[129]40], who showed a consistent but small amplitude circadian rhythm 626- in mean end-tidal Et[CO2 ]on a CR protocol. Et[CO2 ]showed a trend -- 653- pressure, the phase of CBFV reaches its lowest values during the hours 654: before 12 pm. This further suggests that the endogenous rhythm of CBFV 655- may be associated with the risk of CVAs in the late morning hours even -- 660- Overall, the results demonstrate that CBFV, in the absence of sleep, 661: exhibits properties of a circadian rhythm, as it rises and falls across 662- a 24 hour period. The 6 hour (90 degree) phase angle difference in the 663: CBFV rhythm with respect to the CBT rhythm may help explain previous 664- findings of lower CBFV values in the morning. The phase difference -- 787- 14. Yan H, Shan Y, Huang W, Bai Y, Zhang Q: Effect of body position 788: changes and circadian rhythm on cerebral blood flow velocity. 789- Space Med Eng (Beijing) 1997, 10(6):421-4. [174]OpenURL -- 897- [228]Publisher Full Text [229]OpenURL 898: 40. Spengler C, Czeisler C, Shea S: An endogenous circadian rhythm of 899- respiratory control in humans. 1: Rhythm and Meter in English Poetry 2- -- 6- marked in boldface type rather than the tradition al "/" and "x." Each 7: unit of rhythm is called a "foot" of poetry. 8- 791- [268]Gerard Manley Hopkins. Hopkins' major innovation was what he 792: called [269]sprung rhythm. He claimed most poetry was written in this 793- older rhythmic structure inherited from the Norman side of the English -- 795- with the stressed syllable falling in the same place on each 796: repetition. Sprung rhythm is structured around feet with a variable 797- number of syllables, generally between one and four syllables per foot, -- 949- 15. http://en.wikipedia.org/wiki/Poetry 950: 16. http://en.wikipedia.org/wiki/Rhythm 951- 17. http://en.wikipedia.org/wiki/Verse_(poetry)