Using questionnaire data completed by 170 men, we examine variation in paternal investment in relation to the trade-off between mating and parenting. We found that as men’s self-perceived mate value increases, so does their mating effort, and in turn, as mating effort increases, paternal investment decreases. This study also simultaneously examined the influence on parental investment of men’s mating effort, men’s perception of their mates’ fidelity, and their perceived resemblance to their offspring. All predicted investment. The predictors of investment are (...) also tested independently for men who are still in a relationship with the mother of their children and those that are separated from her. Finally we examine how self-perceived mate value affects how men respond to variation in paternity confidence. Men with a self-perceived low mate value were less likely to respond to lowered mate fidelity by reducing their parental investment compared with men with a self-perceived high mate value. (shrink)

Introduction Research supports the efficacy of both a remedial consent procedure ) and a motivational consent procedure for improving recall of informed consent to research. Although these strategies were statistically superior to standard consent, effects were modest and not clinically significant. This study examines a combined incentivised consent and CF procedure that simplifies the cognitive task and increases motivation to learn consent information.Methods We randomly assigned 104 individuals consenting to an unrelated host study to a consent as usual condition or (...) an incentivised CF condition . All participants were told they would be quizzed on their consent recall following their baseline assessment and at 4 monthly follow-ups. ICF participants were also informed that they would earn $5 for each correct answer and receive CF as needed.Results Quiz scores in the two conditions did not differ at the first administration ; however, ICF scores were significantly higher at each subsequent administration .Conclusions The ICF procedure increased consent recall from 72% to 83%, compared with the CAU condition in which recall decreased from 69% to 59%. This supports the statistical and clinical utility of a combined remedial and motivational consent procedure for enhancing recall of study information and human research protections. (shrink)

This study examined the efficacy of corrected feedback for improving consent recall throughout the course of an ongoing longitudinal study. Participants were randomly assigned to either a corrected feedback or a no-feedback control condition. Participants completed a consent quiz 2 weeks after consenting to the host study and at months 1, 2, and 3. The corrected feedback group received corrections to erroneous responses and the no-feedback control group did not. The feedback group displayed significantly greater recall overall and in specific (...) content areas. Results support the use of corrected feedback for improving consent recall. (shrink)

This study applied discourse analysis to over 1500 publicly posted comments following the multilingual Coca-Cola ‘It’s Beautiful’ commercial which aired on 2 February 2014 across the United States. Discursive analysis found that immigrant groups were discussed by about one-third of respondents in predominantly negative ways. People employed categorization, comparison, consensus, generalizations, metaphors, rhetorical questions, and directive speech acts to discuss the commercial and immigration, more generally. The frequent presence of such negative responses to the commercial suggests that anti-immigrant sentiments continue (...) and possibly are intensifying among segments of the population in the United States. The Model of Normalized Hate Speech is presented here, in order to promote future inquiry and understanding in this area. (shrink)

We describe a patient LS, profoundly deaf in both ears from birth, with underdeveloped superior temporal gyri. Without hearing aids, LS displays no ability to detect sounds below a fixed threshold of 60 dBs, which classifies him as clinically deaf. Under these no-hearing-aid conditions, when presented with a forced-choice paradigm in which he is asked to consciously respond, he is unable to make above-chance judgments about the presence or location of sounds. However, he is able to make above-chance judgments about (...) the content of sounds presented to him under forced-choice conditions. We demonstrated that LS has faint sensations from auditory stimuli, but questionable awareness of auditory content. LS thus has a form of type-2 deaf hearing with respect to auditory content. As in the case of a subject with acquired deafness and deaf hearing reported on a previous occasion, LS’s condition of deaf hearing is akin in some respects to type-2 blindsight. As for the case of type 2 blindsight the case indicates that a form of conscious hearing can arise in the absence of a fully developed auditory cortex. (shrink)

Evidence suggests that research participants often fail to recall much of the information provided during the informed consent process. This study was conducted to determine the proportion of consent information recalled by drug court participants following a structured informed consent procedure and the neuropsychological factors that were related to recall. Eighty-five participants completed a standard informed consent procedure to participate in an ongoing research study, followed by a 17-item consent quiz and a brief neuropsychological battery 2 weeks later. Participants performed (...) within the normal range on most of the neuropsychological measures, although roughly one third showed deficits on measures of executive functioning. Participants failed to recall over 65% of the consent information within 2 weeks of entering the study, and their recall was significantly correlated with verbal IQ, drug problem severity, reading ability, memory, and attention. These factors may be useful in determining whether research participants require enhanced consent procedures. (shrink)

In response to Frontiers’ 2020 Call for Papers on “Stereotypes and Intercultural Relations: Interdisciplinary Integration, New Approaches, and New Contexts,” my paper integrates the scientific study of stereotypes with a literary-theatrical exploration of stereotyping. The focus is on Tibor Egervari’s post-Auschwitz adaptation of Shakespeare’s anti-Semitic comedy The Merchant of Venice, with a very brief look at his related work on Christopher Marlowe’s The Jew of Malta and his 1998 collaboration with conductor Georg Tintner on a touring production of composer Viktor (...) Ullmann’s and librettist Peter Kien’s one-act opera, The Emperor of Atlantis, or Death’s Refusal, composed in the “model” concentration camp Terezín, in 1943–1944. Egervari’s theater art critically deconstructs what he calls “the Old Jew” stereotype in specific ways highly readable using the Stereotype Content Model and Behavior from Intergroup Affect and Stereotypes map. Theater performance can sometimes embody the forceful dynamic traced by the BIAS map, from cognition to affect to behavior. Egervari’s original adapation, which sets The Merchant of Venice in Auschwitz, reveals this dynamic clearly. My interdisciplinary study of Egervari’s theatrical-cultural work validates the SCM and BIAS map for literary studies and interprets the Shylock stereotype in the terms of those models and through the lens of Egervari’s anti-Nazi adaptation of Shakespeare’s Merchant. (shrink)

Les lecteurs de Machiavel forment une troupe nombreuse où se mêlent les philosophes et les rois, les empereurs et les tyrans. Le Prince est de toutes les oeuvres de la pensée politique la seule qui ait durablement accroché l'intérêt des hommes de gouvernement : Charles-Quint en avait fait un de ses livres de chevet, Frédéric II s'efforça de le réfuter, Napoléon voulut qu'il fût dans ses bibliothèques successives, Mussolini en écrivit une préface. Staline l'annota. Hitler dit l'avoir lu et relu. (...) Du côté des écrivains et philosophes, la liste est longue et prestigieuse : Bodin, Bacon, Marlowe, Spinoza, Montesquieu, Rousseau, Hegel, Nietzsche... Mais qu'y a-t-il donc dans ce livre ambigu, écrit avec brio et semé de contradictions? Pour tenter d'y voir clair, Philippe Bénéton mène une vaste enquête sur l'art d'écrire du Florentin : des explications de texte serrées, une analyse systématique des sources, la confrontation du témoin Machiavel avec l'histoire de son temps. D'étape en étape, les brouillards se dissipent. Machiavel apparaît comme un maître dans l'art de la rhétorique. Quant à son intention profonde, il s'avère qu'elle n'est guère au diapason de ce que dit la doxa contemporaine. Il y avait une énigme Machiavel : voilà sa solution machiavélique. (shrink)

To Marlow the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze.J. Conrad, Heart of Darkness L’interrogativo al quale si proveranno a fornire alcune risposte è di carattere prettamente fondazionale, formale e preliminare alle molteplici applicazioni specifiche di un’indagine di tipo fenomenologico. L’interrogativo è «Che cos’è un contenuto fenomenico?». Una questione che nel presente contesto deve essere i...

English summary: Theater allows people to examine important problems with sufficient distance in order to judge fairly without feeling directly implicated. Michel Meyer offers a much needed history of theater, from its earliest Greek beginnings, through the Middle Ages, Enlightenment, to the absurd works of Beckett or Sartre, while remembering the context of other supporting arts. French description: Le theatre est, avec l'epopee, la plus ancienne forme de litterature en Occident. Son but est de creer de la distance avec des (...) situations problematiques, liees au pouvoir, au divin, aux dilemmes moraux, afin de permettre au spectateur de faire le bon jugement sans se sentir directement implique. Michel Meyer envisage toutes les theories du theatre, a commencer par celle d'Aristote, qui se sont succede jusqu'a aujourd'hui et les confronte a l'histoire meme du theatre. Eschyle, Sophocle, Euripide, Aristophane, Marlowe, Machiavel, Shakespeare, Racine et le theatre classique francais, le theatre baroque espagnol, le romantisme, le realisme, d'Ibsen a Tchekhov et a Pirandello, comme le theatre de l'absurde, avec Ionesco, Beckett ou Sartre, tout est etudie, articule, et remis en perspective. La rationalite dans l'histoire du theatre est clairement mise en evidence, sans jamais negliger ce que le theatre doit ou apporte aux autres arts les plus proches, comme l'opera. Michel Meyer offre ici une synthese spectaculaire et une erudition sans precedent sur le phenomene theatre en un ouvrage court et percutant, plein d'idees nouvelles. (shrink)

Heart of Darkness is the story of a quest for truth but a quest, we discover, that is veiled in ironies. But just how radical are these ironies? When Marlow tells us that Kurtz’s dying whisper enunciates a truth, does he give us a solid kernel around which we can build our further questioning, concerning, for example, whether Marlow preserves or betrays the truth he has been given?” This has been the assumption of most critics; regardless of the (...) ingenuities by which the varieties of interpretation has shown that Marlow in the end lies or does not lie, the axis of interpretation has almost always been defined by Kurtz’s presumed truth. Why should this be so? Why should Kurtz’s whisper be more significant than, say, the cry of the Intended with which the story culminates? But there are presuppositions in force here so strong that it seems senseless to ask this question. Classic presuppositions: the woman is dominated by emotion and desire, and her cry is at the other pole from the nonlibidinal utterance of truth. Marlow would agree with this assessment—for him, women are “out of touch with the truth” which you have to be “man enough” to face. So our truth-seeking criticism, which doubts much of what Marlow says, does not doubt the terms in which Marlow conceives of truth and its authority.Let us consider an example of the truth-seeking reading of Heart of Darkness, examining the ideology that sanctions this form of interpretation and showing how its presuppositions cooperate with Marlow’s. Our specimen will be a fairly recent PMLA article by Garrett Stewart called “Lying as Dying in Heart of Darkness.” Stewart’s “existential” reading invokes an economics of truth: Kurtz truthfully confronts death, facing and passing judgment upon the corruption of his being that emerges as fulfilled in his final moment; Marlow “lives through” Kurtz’s death and has the opportunity to preserve and transmit Kurtz’s “legacy of insight”; his lie, however, “kills the meaning of a death,” “squandering … Kurtz’s delegated revelation on a squeamish deceit.”1 1. Garrett Stewart, “Lying as Dying in Heart of Darkness,” PMLA 95 : 330, 329, 326; all further references to this essay, abbreviated “L,” will be included in the text. Henry Staten is associate professor of English and adjunct associate professor of philosophy at the University of Utah. He is the author of Wittgenstein and Derrida. The present essay is part of a book in progress on mourning and idealization in Western literature. (shrink)

Several years ago, in a brilliant contribution to the Collection Archives Series, Michel de Certeau wove together a large number of seventeenth-century documents pertaining to the famous episode of demonic possession among the Ursuline nuns of Loudun.1 One of the principal ways in which de Certeau organized his disparate complex materials into a compelling narrative was by viewing the extraordinary events as a kind of theater. There are good grounds for doing so. After all, as clerical authorities came to acknowledge (...) the incidents of possession and treat them accordingly, they ceased to be isolated, private events occurring inside the convent walls and were transformed instead into public spectacles performed for a populace deeply divided between Catholics and Huguenots. Once or twice a day the nuns were taken from their needlework or tranquil meditations and led in small groups through the streets of the town to a church or chapel, where spectators had already gathered. At first these spectators were local townspeople, many of whom must have been acquainted with or even related to the nuns, but, as word of the possession spread, crowds of the curious arrived not only from the region but from all over France and from as far away as England and Scotland. The inns of the town were filled with these visitors who traveled to Loudun expecting to witness events there that were at once beyond nature and yet performed on schedule: repeatable, predictable, and—in their bizarre way—decorous.At the appointed times, beneath the expectant gaze of the crowd, the possessed women would ascend a scaffold, be loosely tied to low chairs, and begin to manifest their symptoms. From within each of the tormented bodies, a particular devil would arise and be constrained by the exorcist to identify himself. If a nun were possessed by more than one demon, the exorcist could dismiss one supernatural voice and demand that another come forth and occupy the tongue of the writhing woman. If the demon refused to cooperate in the interrogation, the presiding priest would solemnly remove the Holy Sacrament from the pyx and hold it up to the mouth of the possessed while the priests and spectators would assist by chanting the Salve Regina. This would provoke screams and violent contortions. Submitting to irresistible spiritual pressure, the devil would then be compelled to speak, confirming the Christian mysteries and the power of the Catholic church. “On stage,” writes de Certeau, “there are no longer human beings; in this sense, there is no longer anyone—only roles” . And these “roles” in turn are revealed to be the hidden truths that underlie the masks of ordinary life; more accurately, the ceremony has the power to convert ordinary life into mere masks, precisely so that these masks may be stripped away to reveal the inward drama of spiritual warfare. The demons appear at first to dominate that drama, forcing their wretched and unwilling hosts to manifest the power of darkness, but a spectacular ecclesiastical counterforce transforms the tragedy into a comedy in which the devil confesses that he has been vanquished by Jesus Christ. 1. See Michel de Certeau, La Possession de Loudun, Collection Archives Series, no. 37 ; all further references to this work, abbreviated PL, will be included in the text . On the relationship between exorcism and theater in this period, see also Henri Weber, “L’Exorcisme à la fin du seizième siècle, instrument de la Contre Réforme et spectacle baroque, » Nouvelle revue du seizième siècle 1 : 79-101. Stephen Greenblatt, the Class of 1932 Professor of English at the University of California, Berkeley, is a founder and editor of Representations. His most recent book, Renaissance Self-Fashioning: From More to Shakespeare, received the British Council Prize in the Humanities. He is presently completing a study of Shakespeare and the poetics of culture. “Marlow, Marx, and Anti-Semitism,” his previous contribution to Critical Inquiry, appeared in the Winter 1978 issue. (shrink)

This article identifies philosophical tensions and limitations within contemporary intersectionality theory which, it will be argued, have hindered its ability to explain how positioning in multiple social categories can affect life chances and influence the reproduction of inequality. We draw upon critical realism to propose an augmented conceptual framework and novel methodological approach that offers the potential to move beyond these debates, so as to better enable intersectionality to provide causal explanatory accounts of the ‘lived experiences’ of social privilege and (...) disadvantage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TragedyA Lesson in SurvivalChristopher Perricone (bio)Tragedy and Its Historical Context"Tragedy" in the strict sense of the word refers to an ancient Greek literary genre, a form of drama for the most part performed publicly in the theater. As is well known, the word "tragedy" literally means "goat song." The belief among scholars is that early singers of tragedy wore goatskin costumes in imitation of satyrs. Also, as is well (...) known, Aristotle defines "tragedy" in the strict sense of the word as "the imitation of an action that is serious and also having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions."1 Of course, when one thinks of tragedy in the strict sense the names that come to mind are Aeschylus, Sophocles, and Euripides. It is arguable that these men not only set the stage for and developed the idea of tragedy in the strict sense, but they also laid the foundations of tragedy for centuries to come.After the Greeks, not surprisingly, tragedy evolves. The strict sense of the term as a point of reference, origin, or nucleus, remains—that is, after the Greeks, tragedy still retains that sense of "an imitation of an action that is serious." However, when one considers what later goes by the name of tragedy, one is hard-pressed, without resorting to Procrustean measures, to fit with any precision those later works of tragedy into the original Greek mold. After the Greeks, Seneca composes tragedies, as do Marlowe, Shakespeare, Corneille, Racine, Goethe, Schiller, Ibsen, Chekov, Lorca, Anouilh, Miller, et al. Even the sense of "serious" is not exactly the same: is the seriousness of Hedda Gabler's or Willie Loman's fate at all comparable to the fates of [End Page 70] Medea or Oedipus? The former cases surely seem serious in some domestic sense, whereas the latter clearly are intended to imply seriousness on a much grander and perhaps cosmic scale.The reason I mention all this is that "tragedy," both in what I call the strict and nuclear ancient Greek sense of the term (which does not imply that tragedy is clearly and distinctly defined, even in ancient Greece) and in the looser, derived sense of the word, has a long and compelling history. Tragedy is a form of drama to which we continually return. It is a genre that seems intrinsic not only to our very idea of theater but also to the very nature of art itself. Although one may debate the plausibility of writing tragedies in a disillusioned and nonheroic age, nevertheless one can hardly imagine the theater existing without tragedy. One way or another, it seems tragedies, whether in the strict or loose sense, will always be performed, and not merely out of nostalgia. Indeed, given the compelling nature of tragedy, it seems no accident that among the giants of literature, the tragedians are significantly represented. The compelling nature of tragedy is nicely expressed by the literary critic F. L. Lucas, and his statements should be considered a complement to Aristotle:Tragedy, then, is a representation of human unhappiness, which pleases us notwithstanding, by the truth with which it is seen and the fineness with which it is communicated—"l'amertume poignante et fortifiante de tout ce qui est vrai." ["The invigorating and poignant bitterness of whatever is true"; my translation.] The world of everyday seems often a purposeless chaos, a mangy tiger without even the fearful symmetry of Blake's vision; but the world of tragedy we can face, for we feel mind behind it and the symmetry is there. Tragedy, in fine, is man's answer to this universe that crushes him so pitilessly. Destiny scowls upon him; his answer is to sit down and paint her where she stands.2It is not only true that tragedy as practice and performance has a long and rich history; the study of tragedy has an equally long and rich history. The idea of tragedy has attracted, tantalized, frustrated, and exercised... (shrink)

When making decisions, humans can observe many kinds of information about others' activities, but their effects on performance are not well understood. We investigated social learning strategies using a simple problem-solving task in which participants search a complex space, and each can view and imitate others' solutions. Results showed that participants combined multiple sources of information to guide learning, including payoffs of peers' solutions, popularity of solution elements among peers, similarity of peers' solutions to their own, and relative payoffs from (...) individual exploration. Furthermore, performance was positively associated with imitation rates at both the individual and group levels. When peers' payoffs were hidden, popularity and similarity biases reversed, participants searched more broadly and randomly, and both quality and equity of exploration suffered. We conclude that when peers' solutions can be effectively compared, imitation does not simply permit scrounging, but it can also facilitate propagation of good solutions for further cumulative exploration. (shrink)

This provocative study revives a classical idea about rationality by developing analogies between the structure of personality and the structure of society in the context of contemporary work in the philosophy of mind, ehtics, decision theory, and social choice theory.

Transcript of speeches by a Hindu philosopher, chiefly on Hindu philosophy and Hinduism.

This book presents three of the works of Abdu'l-Bahá, son of the founder of the Bahá'i Faith, dealing with social and political issues.00In 'The Secret of Divine Civilization' (1875) Abdu'l-Bahá supports the administrative and broader social reforms of Mirzá Hosayn Khán, but looks mainly for organic reform through the efforts of Iranian intellectuals to waken and educate the masses. In this work, Abdu'l-Bahá gives virtuous and progressive Islamic clerics a leading role among these intellectuals, indeed most of his appeals are (...) directed specifically to them. 'A Traveller's Narrative' (1889/90) is an authoritative statement of the broad lines of Bahá'i social and political thinking. 'The Art of Governance' (1892/93) was written as Iran entered a pre-revolutionary phase, and ideas that we recognise today as the precursors of political Islam were spreading. It sets out the principles underlying the ideal relationship between religion and politics and between the government and the people.00In addition to presenting the first parallel text translations of these works, the Persian texts incorporate notes on variants in the early published sources. An introduction outlines the intellectual and political landscape from which Abdu'l-Bahá wrote, and in which his expected readers lived. (shrink)

Sur la toile de fond de la theologie negative, tissee par la discussion des apories que soulevent les notions de l'ineffable et de l'un, Damascius, le dernier diadoque de l'Ecole d'Athenes, elaboreson systeme metaphysique, sans se departir de la rigueur de sa methode aporetique, qui est une critique radicale du langage a l'interieur des coordonnees fixees par le Parmenide de Platon et par les Oracles Chaldaiques. Damascius, dans une enquete unique par son ampleur et son originalite questionne tour a tour (...) Porphyre, Jamblique, Syrianus et Proclus sur les principes; il examine les problemes que pose, en derivation de l'un, la formation de la trinite; de l'un-tout (la limite), du tout-un (l'infini) et de l'unifie (le mixte ou l'etre). Lien a priori entre l'un-tout et le tout-un, l'unifie est le principe de constitution de tout ordre et de toute realite. Damascius etudie sa nature de mixte originaire et autoconstituant, d'etre exemplaire et de premier intelligible. Cette notion lui permet de pas au crible, pour la mieux fonder, la problematique neoplatonicienne de la manence, de la procession et de la conversion. Les divers niveaux d'unification de la pluralite intelligible l'amenent a construire une theorie generale des elements, des parties et des formes Au passage, de nombreux textes, capitaux du point de vue de l'ontologie et de la doctrine de la connaissance, font regretter qu'ils aient ete inconnus du Moyen Age et qu'ils le demeurent pour beaucoup de nos contemporains. (shrink)

John Pollock aims to construct a theory of rational decision making for real agents--not ideal agents. Pollock argues that theories of ideal rationality are largely irrelevant to the decision making of real agents. Thinking about Acting aims to provide a theory of "real rationality.".

Pucelle tries to show how the idea of personal liberty is central to Green's ethics. Green's criticisms of other philosophers and the historical context of his philosophy are especially well handled. --W. L. M.

The publication of the article “Recent Models of the African Iron Age and the Cattle-Related Evidence” by Hromnik in a journal sponsored by Unesco raises a number of serious issues which we, as members of the International Scientific Committee charged with the responsibility of preparing an up-to-date and scientific history of Africa purged of its mists of racist propaganda, unfounded assertions and misleading and dangerous misinterpretations, cannot ignore. These issues include the scientific accuracy or authenticity of the article.

Three of the four commentators endorse our concerns about intervention by the Roman Catholic church as anamicus curiaein civil litigation, with few reservations. One commentary rejects our arguments in toto. We deal first with the three commentaries that support our arguments; secondly, with the reservations and qualifications in those commentaries, and thirdly, with the commentary that totally rejects our arguments.

The purpose of the article is distinguishing between "internal" and "external" public human through comprehending the phenomenon of Self in its virtual-digital essence as a popular demonstrative-project space "BETWEEN" aggression and harmony. Theoretical basis of the work is based on the study of the phenomenon of modern human aggression in the virtual-digital space and the "project space" of the living environment through understanding the nature of the human "I". The penetration limits of the Self of the public human into the (...) "project space" are comprehended and the nature of the self-realization and self-search models of human through the "transcendent ego" is revealed. Originality is demonstrated through comprehending the Self phenomenon of the public human, which forms new anthropological research direction and represents a conceptual paradigm of relationship of "human I – publicity – human We – the living space of the Other". Conclusions. The Self of the public human as the space "BETWEEN" does not completely "dissolve" in a separate ontological basis, but is the basis for the formation of his/her "I", while only participation in the existence of others reveals the meaning of his/her own existence. Such interaction requires significant human efforts – skills and competencies of public communication, which are able to create a successful self-identification of a public human without aggression and conflict. (shrink)

In the Nouveaux Essais, Leibniz famously declared that he once had “begun to lean towards” Spinozist necessitarianism. In this article, I argue that this remark refers to his modal philosophy anterior to 1677. Leibniz’s mature refutation of Spinoza’s necessitarianism relies on the notion that pure possibility has some sort of reality in God’s mind, because only this allows for a strong notion of divine choice. But I believe that Leibniz only developed this ontology of possibility after 1677. Before this date, (...) he inclined towards the view that non existing possibilities are mere logical abstractions that God never actually conceives. In order to show this, I analyze a series of early texts written between 1668 and 1676. Next, I consider a series of texts from 1677-1678, where Leibniz developed his ontology of possibility and put it to use against Spinozist necessitarianism for the first time. (shrink)