In this study, we examined whether the lexical competition process embraced by most models of spoken word recognition is sensitive to talker-specific information. We used a lexical decision task and a long lag priming experiment in which primes and targets sharing all phonemes except the last one were presented in two separate blocks of stimuli. In Experiment 1, the competitor prime block was presented only once to listeners, and no modulation of the competitor priming effect as a function of a (...) talker change between the primes and targets was observed. However, attenuation in the competitor priming effect in the case of a talker change between the primes and targets was observed in Experiment 2 in which the competitor prime block was presented five times to listeners. We discuss our findings in reference to hybrid models of spoken word recognition in which repetition of words with the same talker could be a key factor in the formation and access to talker-dependent representations. (shrink)

Although protected by the law on fixed prices for books, independent bookshops in France have struggled to maintain their market share against bookselling giants such as Amazon and the chains. In trying to do so, they have developed a rhetoric based on the singularity of the experience in physical shops, stressing a sense of intimacy akin to that associated with the domestic sphere. Their being independent – no matter how slippery the notion – has also been a key argument. Using (...) Pierre Bourdieu’s theory of symbolic goods, this paper aims to show that this strategy has been effective in singling out something that ‘only’ independent retail can provide, something that proves particularly attractive to certain categories of customers. The article draws on semi-structured interviews carried out with owners of small and medium-sized independent bookshops, together with observation during events and debates, to provide some insight into a key element of physical bookshops’ resilience. (shrink)

In 2001, France became one of the few countries to require corporate social responsibility reporting through its Nouvelles Régulations Économiques #2001-420. However, initial compliance with the statute was low, a factor implying the law lacked normativity. In this exploratory study, we attempt to determine whether there is movement toward normativity by examining the change in CSR disclosure from 2004 in comparison to 2010 for a sample of 81 publicly traded French firms. We measure both the space and the quality of (...) CSR disclosures, including in the latter a measure based on informational quality attributes as discussed by the International Accounting Standards Board, the Financial Accounting Standards Board, and the Global Reporting Initiative. We find significant increases in the space allocated to CSR disclosure, as well as some evidence of increased quality; although the informational quality of the disclosures remains quite low and fewer firms are including negative performance information in their reports. Finally, we document that differences in disclosure space and quality in 2004 appeared to be associated with legitimacy-based variables and that those relations remain largely unchanged in 2010. As such, it appears that the NRE’s goals of increased transparency remain unmet. (shrink)

This event-related potential (ERP) study examined the impact of phonological variation resulting from a vowel merger on phoneme perception. The perception of the /e/–/ε/ contrast which does not exist in Southern French-speaking regions, and which is in the process of merging in Northern French-speaking regions, was compared to the /ø/–/y/ contrast, which is stable in all French-speaking regions. French-speaking participants from Switzerland for whom the /e/–/ε/ contrast is preserved, but who are exposed to different regional variants, had to perform a (...) same-different task. They first heard four phonemically identical but acoustically different syllables (e.g., /be/–/be/–/be/–/be/), and then heard the test syllable which was either phonemically identical to (/be/) or phonemically different from (/bε/) the preceding context stimuli. The results showed that the unstable /e/–/ε/ contrast only induced a mismatch negativity (MMN), whereas the /ø/–/y/ contrast elicited both a MMN and electrophysiological differences on the P200. These findings were in line with the behavioral results in which responses were slower and more error-prone in the /e/–/ε/ deviant condition than in the /ø/–/y/ deviant condition. Together these findings suggest that the regional variability in the speech input to which listeners are exposed affects the perception of speech sounds in their own accent. (shrink)

In recent decades, some feminists have turned to the writings of Hannah Arendt in order to propose a truly emancipatory ethic of care or to find the principles that could lead to the political institutionalization of care. Nevertheless, the feminist interpretations of Hannah Arendt are particularly contrasted. According to Sophie Bourgault, this recourse to Hannah Arendt is deeply problematic, mainly because of her strong distinction between the private and public spheres. This article discusses the relevance of using Arendt’s concepts (...) to think about the institutionalization of care by Joan Tronto. Indeed, the most recent analyses developed on the politics of care are shaped by Arendt’s concepts such as power, amor mundi or by her conception of politics as a relationship. (shrink)

### High Court rejects assisted dying challenge The High Court has rejected the latest challenge to the law on assisted dying in the UK, brought by Noel Conway. Mr Conway, a retired college lecturer, was diagnosed with motor neuron disease in 2012. Since his diagnosis, his health has deteriorated and he is dependent on ever-increasing levels of assistance with daily life, including the use of non-invasive ventilation to help him breathe. He sought a declaration from the court that section 2 (...) of the Suicide Act 1961 was incompatible with his right to a private and family life under Article 8 of the European Convention on Human Rights. As part of his case, Mr Conway submitted the outline of an alternative statutory scheme, which he argued, if implemented, would provide sufficient safeguards. He submitted that the prohibition on assisted suicide should not apply where an individual is aged 18 and over; has been diagnosed with a terminal illness and has a clinically assessed prognosis of 6 months or less to live; has the mental capacity to make the decision; makes that decision in a voluntary, clear and settled manner; and retains the ability to undertake the final act. Additionally, two doctors must confirm that the individual meets the criteria, and permission for the provision of assistance must be authorised by a High Court judge. Previous challenges to the UK law on assisted dying, including Pretty and Nicklinson, had established that section 2 of the Suicide Act does engage individual’s Article 18 rights, but that such an interference could be justified under Article 8 of the ECHR, which permits interference ‘such as is in accordance with the law and necessary in a democratic society in the interests of national security, public safety or the economic well-being of the country’. The question …. (shrink)

VAN PRAAG (Paul), Introduction : le Père Henri Bosmans, histo­rien des mathématiques (pp. 7-16). SAUVAGE (Pierre), Notice biographique du Père Henri Bosmans (pp. 17-25). HERMANS (Michel), Henri Bosmans : sa formation et ses réseaux de rela­tions (pp. 27-72). DELANGHE (Richard), Quelques aspects de la vie et de l’œuvre de Paul Mansion (1844-1919) (pp. 73-82). BRIGAGLIA (Aldo), Saccheri vu par Corrado Segre en Italie et par Mansion et Bosmans en Belgique / traduit de l’italien par Bruna GAINO et Patricia RADELET-DE GRAVE (...) (pp. 83-104). MAWHIN (Jean), La tentative belge d’édition des œuvres complètes d’Euler vue par Henri Bos­mans (pp. 105-133). GOLVERS (Noël), Henri Bosmans, s.j., et la mission jésuite en Chine / traduit du néerlandais par Anne-Sophie MEURICE (pp. 135-152). ROMANO (Antonella), Henri Bosmans, jésuite et historien des mathéma­tiques dans la Belgique du premier XXe siècle (pp. 153-168). SAUVAGE (Pierre), Le Père Henri Bosmans et l’historiographie au tournant du XXe siècle (pp. 169-187). RADELET-DE GRAVE (Patricia), Le fonds Henri Bos­mans / avec un ajout de Michel HERMANS (pp. 189-215). MANSION (Paul), Correspondance de Paul Mansion adres­sée à Henri Bosmans / introduction, trans­cription et annotation par Michel HERMANS (pp. 217-251). HEEFFER (Albrecht) – HERMANS (Michel) – STOFFEL (Jean-François), Bibliographie d’Henri Bosmans (pp. 253-298). (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

This title sees the re-emergence of the seminal 1970s magazine Curtains edited by Paul Buck. With its early promotion of French writers such as Georges Bataille, Maurice Blanchot, Jacques Derrida, Jean-Pierre Faye and Edmond Jabès, Curtains’ re-appearance in 2016 arrives after an exhibition at Focal Point Gallery in 2012 that was recreated from an earlier 1992 work at Cabinet Gallery around the concept of ‘disappearing’. The invited contributions come from thirteen artists with whom the editor has engaged over the years. (...) In addition, Buck has returned to pull threads from the earlier editions of his magazine to explore ideas with writers encountered in the intervening years, making all appear in a consolidated grouping as a final gesture, one that refuses to disappear. Contributions include those by: Kathy Acker, Anne-Marie Albiach, Mireille Andres, Stephen Barber, David Barton, Diane Bataille, Georges Bataille, Mathieu Bénézet, Jean-Pierre Bobillot, Joë Bousquet, Michael Camus, Danielle Collobert, David Coxhead, John Cussans, Tatjana Doll, Jerry Estrin, Ulli Freer, Margarita Gluzsberg, Paul Green, Anouchka Grose, Pierre Guyotat, Susan Hiller, Andrew Hunt, Franz Kamin, Chris Kraus, Liane Lang, Roger Laporte, Francesca Lisette, Lucy McKenzie, Bernard Noël, Hestia Peppe, Holly Pester, Perle Petit, Richard Prince, Pascal Quignard, Clunie Reid, Mitsou Ronat, Claude Royet-Journoud, Eugène Savitzkaya, Will Shutes, Sophie Sleigh-Johnson, Miroslav Tichy, Colette Thomas, Simon Thompson, Sophie von Hellermann, and Gabrielle Wittkop. (shrink)

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

At present, one of the most recurrent views in the philosophy of history claims that historical writing is interpretive and that a primary form that this interpretation takes is narration. Furthermore, narration, according to this approach, is thought to possess an inevitably fictional element, viz., a plot, and, in this regard, the work of the narrative historian is said to be more like that of the imaginative writer than has been admitted heretofore. The upshot of this philosophically, moreover, is the (...) assertion that historical narrations, qua narrative interpretations, are to be assessed, in large measure, in terms of the kind of criterion of truth that is appropriate to literary works. And a subsidiary, though far less tendentious, consequence is that our understanding of historical interpretation can profit from literary or “discourse” analysis. (shrink)

In three experiments, we examined priming effects where primes were formed by transposing the first and last phoneme of tri‐phonemic target words (e.g., /byt/ as a prime for /tyb/). Auditory lexical decisions were found not to be sensitive to this transposed‐phoneme priming manipulation in long‐term priming (Experiment 1), with primes and targets presented in two separated blocks of stimuli and with unrelated primes used as control condition (/mul/‐/tyb/), while a long‐term repetition priming effect was observed (/tyb/‐/tyb/). However, a clear transposed‐phoneme (...) priming effect was found in two short‐term priming experiments (Experiments 2 and 3), with primes and targets presented in close temporal succession. The transposed‐phoneme priming effect was found when unrelated prime‐target pairs (/mul/‐/tyb/) were used as control and more important when prime‐target pairs sharing the medial vowel (/pys/‐/tyb/) served as control condition, thus indicating that the effect is not due to vocalic overlap. Finally, in Experiment 3, a transposed‐phoneme priming effect was found when primes sharing the medial vowel plus one consonant in an incorrect position with the targets (/byl/‐/tyb/) served as control condition, and this condition did not differ significantly from the vowel‐only condition. Altogether, these results provide further evidence for a role for position‐independent phonemes in spoken word recognition, such that a phoneme at a given position in a word also provides evidence for the presence of words that contain that phoneme at a different position. (shrink)

The aim of this paper will be to show that certain strongly realist forms of scientific realism are either misguided or misnamed. I will argue that, in the case of a range of robustly realist formulations of scientific realism, the ‘scientific’ and the ‘realism’ are in significant philosophical and methodological conflict with each other; in particular, that there is a tension between the actual subject matter and methods of science on the one hand, and the realists' metaphysical claims about which (...) categories of entities the world contains on the other. (shrink)

A great deal of the humor that we encounter is narrative in form. This is obviously the case with many, if not most, jokes. But humor also occurs in more expanded narrative frameworks, including plays, novels, films, short stories, TV programs, comic books, and so forth. The purpose of this paper is to explore the question of whether there are any plot structures—of magnitudes greater than that of the joke—that might be thought of as comic in virtue of their narrative (...) form. (shrink)

Este artículo indaga en la naturaleza de la experiencia religiosa tal y como está plasmada en la cultura latinoamericana contemporánea. En esta perspectiva, presenta el estudio de dos películas chilenas recientes protagonizadas por dos personajes dotados de características crísticas. Ambas películas son ambivalentes frente al fenómeno religioso: por un lado invalidan la posibilidad del milagro y por ende de la fe; por otro lado, mantienen abierta la posibilidad de una irrupción de lo “divino” en la vida de personajes que se (...) han vuelto incrédulos. La tensión entre visión y palabra es clave para articular esta ambivalencia en el lenguaje fílmico. Se interpreta el resultado del análisis a la luz de la evolución religiosa de Chile y América Latina tal como está descrita en varios estudios de sociología de la religión. (shrink)

Ce très bel ouvrage de la photographe namibienne Margaret Courtney-Clarke, publié primitivement aux États-Unis en 1986 (Rizzoli), a contribué à faire connaître internationalement les peintures ndebele d'Afrique du Sud, ces larges figures géométriques en aplat sur les murs des concessions, ces compositions savantes aux couleurs lumineuses, aux motifs complexes rythmés de noir et de blanc. La réunion des Musées de France a même édité un jeu de cartes inspiré de ces motifs décoratifs, en ..

Ce très bel ouvrage de la photographe namibienne Margaret Courtney-Clarke, publié primitivement aux États-Unis en 1986 (Rizzoli), a contribué à faire connaître internationalement les peintures ndebele d'Afrique du Sud, ces larges figures géométriques en aplat sur les murs des concessions, ces compositions savantes aux couleurs lumineuses, aux motifs complexes rythmés de noir et de blanc. La réunion des Musées de France a même édité un jeu de cartes inspiré de ces motifs décoratifs, en...

Autant le cinéma occidental a donné prise à de multiples investigations, notamment en ces temps de centenaire de l'invention des frères Lumière, autant les études centrées sur des cinématographies plus « marginales » dans la production mondiale sont davantage sporadiques. Le cinéma africain, diffusé au compte-gouttes dans les circuits européens - et souvent marginalisé dans les pays africains eux-mêmes malgré des efforts - a cependant près d'un demi-siècle d'existence. Il révèle une...

Autant le cinéma occidental a donné prise à de multiples investigations, notamment en ces temps de centenaire de l'invention des frères Lumière, autant les études centrées sur des cinématographies plus « marginales » dans la production mondiale sont davantage sporadiques. Le cinéma africain, diffusé au compte-gouttes dans les circuits européens - et souvent marginalisé dans les pays africains eux-mêmes malgré des efforts - a cependant près d'un demi-siècle d'existence. Il révèle une...

Rédiger un manuel relève toujours du tour de force et Yannick Ripa s'y est confrontée avec brio. Dans une synthèse resserrée (138 pages de texte, 54 pages d'annexes), elle rend compte de la complexité d'une histoire foisonnante ­ celle des Françaises de la Révolution à la Deuxième Guerre mondiale ­ en se fondant sur les acquis d'une historiographie dynamique ­ celle de l'histoire des femmes et des genres. Il s'agit d'un des tout premiers manuels sur ce thème proposé en langue (...) française... (shrink)

In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.

This is a very important contribution to the slowly emerging literature on psychoanalysis and time. By examining the influences on Freud's thinking about time and the development of what were his mostly implicit ideas about temporality, Kelly Noel-Smith offers a lively and impeccably scholarly new way of understanding the background to current developments in psychoanalytic theory and practice." - Professor Stephen Frosh, Birkbeck, University of London, UK. "Dr Noel-Smith displays deep knowledge of Freud's oeuvre, the relevant Ancient Greek sources that (...) Freud drew upon, and modern philosophical thought. Her expertise is synthesized into a well-organized inquiry into what Freud thought about time. I learned a huge amount from reading this clear, well-informed and profound exposition." - Professor Charles Stewart, University College London, UK. Time and timelessness are fundamental principles of psychoanalysis yet Freud does not present a consolidated theory of temporality. In this book Kelly Noel-Smith pieces together Freud's scattered 'hints' and 'suspicions' about time and its negative, timelessness. She traces a careful temporal trail through Freud's published works and his daunting Nachlass, and provides a compelling reason as to why Freud kept his remarkable thoughts about time to himself. Kelly Noel-Smith combines a career in law with an academic interest in psychoanalysis and philosophy. (shrink)

Aelred of Rievaulx, a 12th-century Cistercian abbot, penned a powerful dialogue about the complexity of friendship titled Spiritual Friendship. Aelred’s central claim is that friendship is the primary means through which Christ’s love enters the world. In this article, I apply Aelred’s insights on spiritual friendship to argue that Christ is the Friend at the center of the classroom. In particular, I suggest pedagogical practices that facilitate friendship as a Christian virtue, compelling learners to befriend one another, to befriend the (...) subject, and to befriend God. Aelred does not suggest that everyone whom we love is to be a spiritual friend. Rather, those whom we choose to befriend are to be tested caringly and critically for their adherence to virtue. With the help of my ancient, theologian friends and my friends who are leading voices in contemporary Christian pedagogy, I aim to teach students to empathize with authors with whom they disagree, even to befriend them, even as they test whether those ideas are to be drawn into friendship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading idea (...) in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

Arthur Danto numbers among the few contemporary philosophers whose writing is really a pleasure to read. Although rarely recognized, the source of that pleasure is Danto’s humor. His philosophical writing is consistently comic. Of course, the humor is obviously not of the knee-slapping variety. Yet it is pervasively playful.Danto will introduce a thought experiment and then explore it in several directions. Unlike many other contemporary philosophers, he is not stingy in laying out his examples. Whereas it is customary for most (...) other philosophers to sharpen their thought experiments like arrows in order to hit their target while carrying no wasted verbiage, Danto elaborates his, often.. (shrink)