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The process 'of responding by reproducing the acts of the other (s) has been referred to by various writers as taking the role of the other, identification, introjection, sympathy, empathy, imitation ... This process of double conditioning is referred to as the incorporation or internalization of an interact pattern' (374). Cottrell conceives a social act to be 'a series of reciprocally related acts by units called selves, which series forms a dynamic perceptual unit' (379). He perceives the general form of such acts as consisting of 'a beginning or precipitating condition, the definition of goals or end relations toward which the interacting units conceive themselves to be moving, a series of relevant intermediate activities, and finally, some kind of end-state of relationship of the implicated selves' (379).

It asserts itself with great effort, but nevertheless there are intrusions from the suppressed trait (section ill). Suddenly the suppressed trait surfaces, and almost completely obliterates, at least temporarily, the trait that was dominant in the previous section. ) In section v the cantilena type (c4) reasserts itself, suppressing the cl and c3 traits almost completely, but at the cost of a considerable physical and psychological effort (note the very high register, the loud delivery, and Berio's accompanying labels).

In subdivision 2 she utters three patterns similar to that of the previous subdivision. The second of these is unidirectional, implying some feeling of purpose. These are separated by brief spells of silences (hesitation phenomena) and such spasmodic tics as a single, short, high hummed sound (+) and a tongue click ([J]). Both of these will prove to be important mannerisms. In subdivision 3 she suddenly begins with a hum, which gradually changes into singing on two vowels and then returns to the bocea chiusa; all this is on a high monotone.

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