ABSTRACTHow are nostalgic memories created? We considered savouring as one process involved in the genesis of nostalgia. Whereas nostalgia refers to an emotional reflection upon past experiences, savouring is a process in which individuals deeply attend to and consciously capture a present experience for subsequent reflection. Thus, having savoured an experience may increase the likelihood that it will later be reflected upon nostalgically. Additionally, to examine how cognitive and emotional processes are linked across time, we tested whether nostalgia for a (...) previously savoured experience predicts optimism for the future. Retrospective reports of having savoured a positive event were associated with greater nostalgia for the event. Retrospective reports of savouring a time period were associated with greater nostalgia for that time period when participants were in a setting that prompted thoughts of the time period. Savouring an experience predicted no... (shrink)
We examined how social cues and representational ones jointly shape people's spatial memory representations and their subsequent descriptions. In 24 pairs, Directors studied an array with a symmetrical structure while either knowing their Matcher's subsequent viewpoint or not. During the subsequent description of the array, the array's intrinsic structure was aligned with the Director, the Matcher, or neither partner. According to memory tests preceding descriptions, Directors who had studied the array while aligned with its structure were more likely to use (...) its orientation as an organizing direction. Directors who had studied the array while misaligned with its structure used its orientation more frequently as an organizing orientation when knowing that the Matcher would be aligned with it, but used their own viewpoint more frequently as an organizing direction when not knowing the Matcher's viewpoint. Directors also adapted their descriptions strategically, using more egocentric expressions when aligned with the intrinsic structure and more partner-centered expressions when their Matchers were the ones aligned with the structure, even when this information wasn't available in advance. These findings suggest that speakers are guided by converging social and representational cues to adapt flexibly the organization of their memories and the perspectives of their descriptions. (shrink)
This essay stages a dialectical confrontation between Adorno–Horkheimer on one hand and Benjamin–Badiou on the other against the background of the former's reductive portrait of Ulysses in Dialectic of the Enlightenment, which depicts him as a proto-bourgeois archetype of profit-seeking and acquisitive ethos. In sharp contrast, Walter Benjamin's allegorical materialism foregrounds, by dialectical illumination, hieroglyphic traces of Homeric virtues. These, I argue, are sustained and further amplified by Alain Badiou's topological ethics and loop-politics.
By dovetailing the classical concepts of virtue, beauty, harmony and happiness with the cardinal values of modern imagination, life and freedom, Agnes Heller galvanizes modernity's anthropological reflexivity and hints at the prospect of a classicism pertinent to the present. Beyond nostalgia for an ancient past or apology for a contemporary present, her moral anthropology is approached via a dialectical elucidation of aspects of epicurean theory attuned to modernity's complexity. Under the contemporary condition of waning postmodern challenges, escalating confusion and cynicism, (...) moral anthropology's task is as one of probing modernity's destiny for a non-predatory humanism that combines the existential wisdom of ancient theory with modern values. (shrink)
Bacchylides 16 is a hybrid poem. It sets out to explore the relation of cognate types of choral song, the paean and the dithyramb, in one and the same narrative. To that end, it poses a ritual section, which deals with Apollo's stop by the banks of the river Hebrus on his way back from the Hyperboreans to Delphi, ahead of a mythic section whose thematic spine focusses on the aftermath of Oechalia's sack by Heracles and his marital crisis with (...) Deianeira leading up to his death and deification. My concern, here, lies with the very beginning of the Apolline paeanic section, which lacks a gratifying supplement of the few words missing, so one can get a glimpse of how the poet's voice positions itself with respect to the god's upcoming arrival at Delphi. I understand the first line in the following way :Λοξ]ίου [ἀ]ίο[μεν] ἐπεὶὁλκ]άδ’ ἔπεμψεν ἐμοὶ χρυσέανΠιερ]ίαθεν ἐ[ΰθ]ρονος [Ο]ὐρανία,πολυφ]άτων γέμουσαν ὕμνωνWe sense Loxias ever sinceOurania of the fair throne sent mefrom Pieria a golden cargofraught with much-praised songs.Relying on the way editors read the papyrus, the traces that precede the concluding ἐπεί of the first line suggest that it is occupied by a glyconic. (shrink)