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The resemblance theorist must give some account of why the funeral march, and not the cup of coffee, is expressive of sadness, and not joy. Levinson claims that the obvious suggestion here is that the funeral march is ‘readily-hearable-as’ an expression of sadness. If this is correct, then the resemblance the music bears to emotional behavior is logically secondary — a cause or ground of its expressivity. The expressivity itself resides in the music's disposition to elicit the imaginative response in us of hearing the music as a literal expression of emotion. As a logical consequence, the imaginative experience prompted must include some agent whose expression the music literally is.

We say that a piece of music is sad in the same sense in which we say that a weeping willow is sad (S. Davies 2006, 183). Such uses are no more metaphorical than a claim that a chair has arms.

The central problem is the great disparities between language and music, in terms of the ways in which each is both syntactic and semantic.

because nearly 15% of Asian schoolchildren are obese (3 times the current adult obesity rate), the diabetes rate among Asian adults can be expected to increase as these obese children become adults.

The following section provides background information on the methods used to form, decorate, finish, glaze, and fire ceramic wares. Forming. The relatively low plasticity of the material used for making porcelain make shaping the clay difficult. In the case of throwing on a potters wheel it can be seen as pulling clay upwards and outwards into a required shape and potters often speak of pulling when forming a piece on a wheel, but the term is misleading; clay in a plastic condition cannot be pulled without breaking. The process of throwing is in fact one of remarkable complexity. To the casual observer, throwing carried out by an expert potter appears to be a graceful and almost effortless activity, but this masks the fact that a rotating mass of clay possesses energy and momentum in an abundance that will, given the slightest mishandling, rapidly cause the workpiece to become uncontrollable. Glazing. Unlike their lower-fired counterparts, porcelain wares do not need glazing to render them impermeable to liquids and for the most part are glazed for decorative purposes and to make them resistant to dirt and staining. Great detail is given in the glaze article. Many types of glaze, such as the iron-containing glaze used on the celadon wares of Longquan, were designed specifically for their striking effects on porcelain. Decoration. Porcelain wares may be decorated under the glaze using pigments that include cobalt and copper or over the glaze using coloured enamels. Like many earlier wares, modern porcelains are often bisque-fired at around 1000 degrees Celsius, coated with glaze and then sent for a second glaze-firing at a temperature of about 1300 degrees Celsius or greater. Another early method is once-fired where the glaze is applied to the unfired body and the two fired together in a single operation. A porcelain doll from the Czech Republic Firing. In this process, green (unfired) ceramic wares are heated to high temperatures in a kiln to permanently set their shapes. Porcelain is fired at a higher temperature than earthenware so that the body can vitrify and become non-porous.