This paper draws evidence from a national survey conducted in the Republic of Cyprus. Respondents provided evidence about their own self-promotion on social media while assessing other users’ personal salience online. Furthermore, they provided evidence about their own reactions toward other people’s personal salience. The study shows that respondents display affective, perceptional, as well as behavioral reactions toward other people’s online visibility. Demographic characteristics along with certain types of control variables are associated with individuals’ personal salience. Although transferring personal salience (...) constitutes a segmented social media influence, this survey shows that it is recognized as a widespread objective and priority by ordinary individuals. (shrink)

Empathy is essential in story comprehension as it requires understanding of the emotions and intentions of the characters. We evaluated the sensitivity of an emotional perspective-taking task using Aesop’s Fables in relation to empathy. Participants (N = 301) were presented with 15 short fables and were asked to rate the intensity of the emotions they would feel (anger, sadness, disgust, fear, surprise, joy, trust, and anticipation) by adopting the perspective of one of the characters (offender, victim) or the observer’s perspective. (...) A data-driven approach revealed that participants’ responses were aligned with the characters’ intentions, suggesting successful emotional perspective-taking. Participants sympathized with the victim rather than the offender, demonstrating affective sharing processes. Further, participants with higher empathy scores exhibited stronger negative emotions from the victim’s perspective, independently of their level of distress. Our task was not influenced by gender effects. We suggest that the Aesop’s Fables task could provide an indirect instrument to study empathy. (shrink)

The Consequentialist Scale (Robinson, 2012) [89] assesses the endorsement of consequentialist and deontological moral beliefs. This study empirically investigated the application of the Greek translation of the Consequentialist Scale in a sample of native Greek speakers. Specifically, 415 native Greek speakers completed the questionnaire. To uncover the underlying structure of the 10 items in the Consequentialist Scale, an Exploratory Factor Analysis (EFA) was conducted. The results revealed a three-factor solution, where the deontology factor exhibited the same structure as the original (...) work by Robinson (2012) [89], while the original consequentialism factor split into two separate factors. Significant Pearson's r correlations were observed between age and responses to the Consequentialist Scale. Separate EFAs were conducted for two age groups based on a medial split: younger (36 years old or less) and older (more than 36 years old). Interestingly, the younger group exhibited a two-factor solution with the same structure as the original work, while the older group showed a three-factor solution. A hierarchical k-means cluster analysis revealed that the cluster of participants who scored higher in deontology compared to consequentialism primarily consisted of older participants, whereas the two other clusters comprised of younger participants exhibited the reverse pattern. Neither gender nor previous experience with philosophy significantly affected scores on the Consequentialist Scale. Overall, our study provides evidence that the Consequentialist Scale is suitable for use in the Greek population. (shrink)

Ovid's disclaimers in the Ars Amatoria need to be read in this context. My main argument is that, in his disclaimers, Ovid is rendering his female readership socially unrecognizable, rather than excluding respectable virgins and matronae from his audience. Ars 1.31–4, Ovid's programmatic statement about his work's target audience, is a case in point. A closer look at the passage shows that he does not necessarily warn off Roman wives and marriageable girls:este procul, uittae tenues, insigne pudoris,quaeque tegis medios instita (...) longa pedes:nos Venerem tutam concessaque furta canemusinque meo nullum carmine crimen erit. Ov. Ars Am. 1.31–4Stay away, slender fillets, symbol of modesty,and you, long hem, who cover half the feet:we shall sing of safe sex and permitted cheatingand there will be no wrong in my song. (shrink)

Agricultural landscapes are the product of the interaction of the natural environment of an area and the practices of its farmers. In this paper, farmers’ practices are examined in order to describe and understand processes of landscape change in terraced fields on the island of Lesvos, Greece. We examine the changes of the terraced fields of each farmer and the reasons for these changes, practices concerning the maintenance of terraces and how farmers view this landscape change. The concept of farming (...) systems is used to link farmers’ practices at the farm level with changes at the landscape level. Data come from research via questionnaires to farmers in order to record their practices, to explore changes in land use and the landscape elements and the reasons behind these changes, and finally to record their opinions on the landscape change that result. Findings indicate that although farm households in the case study areas depend on farming incomes by very different degrees, they employ similar cultivation and landscape management practices. At the same time, “hobby” farm households may be more prone to abandonment of fields and negligence of landscape elements (here terraces). (shrink)

Important to the essays here is the possibility of using logos without the negative, restricting and violent aspects of logos. In this respect I speak about affirmation and about tragic awareness rather than about the tragic itself or tragic conflict, as I read texts of a literary democracy that is already here, texts by Don DeLillo, Tomas Transtromer, John Ashbery and Thanasis Valtinos, or see arrangements by Lo Snofall. Indeed it is all about arrangements, about knowing how to affirm (...) and doing it rather than using language and its codes in order to transcribe, however accurate this might be. Arrangements say yes, since they do not raise any absolute boundaries. The arrangement is a logos without logos: it is a cosmos, where affirming is a tragically aware cosmetics. Cosmos is neither the world nor any ordering or embellishment of this world, but an openness as the incalculable accumulation of arrangements that say yes in their awareness that they do not amount to an ontology. (shrink)