En 1978, dans le quartier de Stratia (Corfou), au Sud-Ouest de Palaiopoli, où se trouvait l'agora de la ville antique, on a fouillé un dépôt de sanctuaire domestique, dédié à une divinité féminine (Héra?) : au-dessus des ruines d'une habitation, on a recueilli 40 objets de caractère cultuel et rituel (figurines, vases, objets métalliques) datant du milieu du vr s. au 1er quart du ve s. av. J.-C. Ils étaient brisés et mêlés à des charbons, des coquillages et des ossements (...) d'oiseaux à moitié calcinés, restes évidents de sacrifices ou de repas rituels. L'offrande la plus remarquable du dépôt est un vase à parfum tripode en bronze, daté du 3e quart du vr s. av. J.-C, et qui, comme on peut le conclure de l'étude de la forme et du décor, doit provenir d'un atelier corinthien de Grande-Grèce. (shrink)

The dorsal anterior cingulate cortex is a key node in the human salience network. It has been ascribed motor, pain-processing and affective functions. However, the dynamics of information flow in this complex region and how it responds to inputs remain unclear and are difficult to study using non-invasive electrophysiology. The area is targeted by neurosurgery to treat neuropathic pain. During deep brain stimulation surgery, we recorded local field potentials from this region in humans during a decision-making task requiring motor output. (...) We investigated the spatial and temporal distribution of information flow within the dACC. We demonstrate the existence of a distributed network within the anterior cingulate cortex where discrete nodes demonstrate directed communication following inputs. We show that this network anticipates and responds to the valence of feedback to actions. We further show that these network dynamics adapt following learning. Our results provide evidence for the integration of learning and the response to feedback in a key cognitive region. (shrink)

Ce texte a déjà paru dans la revue électronique Texto en 2002. Nous remercions Pierre Lusson de nous avoir autorisé à le reproduire de nouveau ici. Dans la longue et complexe histoire des rapports du langage et de la musique les XVIIe et XVIIIe siècles français constituent un moment privilégié : de l'Alceste de Lulli aux Boréades de Rameau un propos délibéré d'adéquation de la musique aux vers a été poursuivi dans l'écriture des récitatifs (cela est vrai aussi mais (...) d'une manière plus lâche, pour les airs). (...) - Poétique et Études littéraires – GALERIE – Nouvel article. (shrink)

The goal of this research is to know and compare the emotions and reactions to confinement due to the COVID-19 pandemic in children and adolescents with high abilities and community samples. This is a mixed study with an exploratory reach that is descriptive, and which combines survey and qualitative methodologies to examine the emotions and reactions to confinement experiences of children and adolescents aged between 5 and 14 years. An online poll was designed with 46 questions, grouped into three sections: (...) General Data, Reactions to the health contingencies of COVID-19, and Positive and negative emotions. This last section was included the Oros’ positive emotions questionnaire and the scales of the negative effect of the PANAS Schedule positive and negative affect on children and adolescents between 8 and 14 years old. Data were collected online with a convenience sample. Quantitative data were analyzed with the SPSS statistics program and qualitative data with Alceste software. Among the main findings is the fact that there are no significant differences between the groups by ability in terms of reactions and emotions; however, there are differences between age groups and sex. The study discusses the implications for educational intervention in situations like the current pandemic. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a (...) boy pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

To study how expertise impacts the understanding of a complex system like the vineyard, three measures were used with 259 participants (190 non-experts, 34 winemakers and/or winegrowers, and 35 biologists): a questionnaire to check for expertise (the Plant Biology Questionnaire), a task about the Structure, Behaviour and Function model, and a measure of the content of the participants? discourse with the ALCESTE software. Results showed that biologists mentioned functions significantly more often than behaviours, whereas it was the opposite for (...) winegrowers. Non-experts mentioned functions and behaviours significantly less frequently than experts did. The content analysis confirmed the differential expression of each kind of expertise: scientific wording for biologists, technical wording for winegrowers, and words focused on perceptible structures for the non-experts. Results from all tasks were highly correlated and allowed for an interpretation of expertise in terms of mental models of the vineyard. (shrink)

Household confinement due to the rapid spread of the pandemic caused by COVID-19 has brought very significant changes, such as the forced stay-at-home of children due to the closure of schools. This has meant drastic changes in the organization of daily life and restrictions on their activities, including exercise, which could affect the quality of life of the children due to its importance. In order to study the relationship between physical activity and psychological well-being of minors, a study has been (...) carried out with Mixed Methods Research, combining survey methodology with transversal design with qualitative methodology using discourse analysis. A total of 234 parents of minors in Spain and several Spanish-speaking countries in America participated. The instrument was a questionnaire in Google Forms, which included the Kidscreen-27 quality of life scale. The results show significant differences in both the type of physical activity and its frequency due to age, and differences in parents’ perception of whether their children’s physical activity levels were sufficient or not, both on the health, mood and school subscales, and in the categorization of open responses referring to concerns due to the pandemic, analyzed with the ALCESTE technique. The relationship between physical activity of children and adolescents and quality of life is clearly concluded. (shrink)

Interpersonal relations play a critical role in both the conception and dynamics of Brazilian citizenship. Under the influence of neoliberalism, patients must build strategies to access high‐quality health care services. This study aimed to analyze the role of interpersonal relations involved in the access to and delivery of health care services in Brazil amid the influence of austerity policies and the role of nurses in enhancing citizenship through nursing care. Thirty‐one patients in a public hospital in Rio de Janeiro, Brazil, (...) participated in qualitative interviews. A lexical analysis was conducted to analyze the interview data using Alceste® software, version 2012. The results were interpreted in light of both theoretical constructs of the Brazilian citizenship and biological subcitizenship propositions. Two lexical classes revealed contents about strategies used by patients to access high‐quality health care. In the context of budget cuts due to austerity policies, cultural aspects of Brazilian citizenship have influenced access to high‐quality health care services by creating two distinct conditions. Some patients acted as super‐citizens, while others acted as subcitizens. Nurses across the globe must spearhead the struggle for universal and equitable health care access at all levels, without losing sight of wider sociocultural aspects. (shrink)

The health alert caused by the COVID-19 pandemic and the lockdown have caused significant changes in people’s lives. Therefore, it has been essential to study the quality of life, especially in vulnerable populations, including children and adolescents. In this work, the psychological well-being, distribution of tasks and routines, as well as the physical activity done by children and adolescents from two samples: community and high abilities, have been analyzed. The methodology used was Mixed Method Research, through a survey conducted online (...) through social networks. The informants were the parents of the children and adolescents, 209 in the community sample and 116 in the high ability sample. The instrument used was a questionnaire implemented through Google Forms, with open and closed questions, including the Kidscreen-27 scale to measure well-being. The assessment of the adequacy of the physical activity levels was analyzed through ALCESTE. The results showed the absence of differences between students from community samples and those with high capacities in well-being and physical activity. Parents residing in Spain observed less play time in the high ability sample, and more time spent on homework, whether or not they have a diagnosis of high ability. It is concluded that these results question the misconceptions held about high ability students in terms of poorer personal adjustment and better interest in physical activities. (shrink)

SummaryA general definition is given of what is comicality. Molière's Misanthrope then appears as a comedy on comedy. It is because of his universal and indignant censure of laugh that Alceste is ridiculous.

In lieu of an abstract, here is a brief excerpt of the content:Paul Woodruff ROUSSEAU, MOLIÈRE, AND THE ETHICS OF LAUGHTER Rousseau attacks comedy on the grounds that it is bad for our morals. He tries to show that to make a comedy moral is to take the fun out of it. No one would deny that some jokes are bad, and bad for us. But I think Rousseau is mistaken in his belief that the fun of comedy depends on (...) the bad sort of joke. In this essay I examine the ethics of laughter and the techniques of comedy, and find them rooted in a common metaphysics of human nature. It turns out, if I am right, that the most effective comic techniques are the most innocent. A comic playwright can make us laugh at almost anything, even at things that unsettle or horrify us outside the theater. Surprised by our own laughter, we are grateful to see our bugbears turned ridiculous. But what if we find ourselves laughing at virtue in the theater, and are shocked by our own laughter? Laughter, it seems, can be elicited to good or bad effect, depending on the nature of its object. And even towards the same object there can be good and bad laughter. An ethnic joke can be told in a way that brings warm laughter, bridging impossible gulfs, or it can be told in a racist way, with unforgivable laughter driving us apart. Comic playwrights are dangerous people. Plato thought them so (though not so dangerous as tragedians) and argued for restrictions on the use of ridicule. It should always be good-natured, he says in the Laws, and ought never to be directed against citizens.1 Rousseau goes beyond this. In his Letter to M. d'Alembert on the Theater2 he appeals to the danger of comedy as he vehemently defends Geneva's law against theater. Comedy, he argues, must be bad for our morals, or be nothing but a dull sermon. We must not dismiss Rousseau's critique of comedy lightly. Rousseau 325 326Philosophy and Literature was fascinated by the theater, and particularly by Molière, whom he admired as the grand master of comedy. And he knew something of what he admired and why he admired it. He had tried his hand at writing comedy and comic opera. He was not without a sense of humor (as readers of his Confessions are well aware), and he had ideas about how audiences are made to laugh. So it is not out of ignorance that he writes of comedy, "It is all bad and pernicious;... since the very pleasure of the comic is founded on the vice of the human heart,... the more the comedy is amusing..., the more its effect is disastrous for morals." At best, comic playwrights "make fun of vices without making virtue loved." At worst, like Molière in the Misanthrope, they make fun of virtues. Molière's misanthrope, Alceste, is a good man; so good, indeed, that no audience could be comfortable with him. So to please the audience (says Rousseau) Molière is forced to make Alceste ridiculous by adding to his scrupulous honesty a disposition to childish rages, thereby reenforcing the audience's corrupt belief that virtue in the extreme is foolish. But why could the play not be turned to virtuous effect, and Alceste's foils be made ridiculous in his place? Rousseau shows us what changes he thinks would have to be made—they reduce a great comedy to a dull sermon. Rousseau concludes that the same play cannot both make us laugh and be good for our morals.3 This radical case against comedy rests on two principles. First, as an audience we want only to find bad characters exciting and good characters amusing, so that successful comedy must make us laugh at good characters. Second, when we laugh at good characters in comedy, we do so without sympathy; by laughing at them we repudiate their example. Rousseau thinks it comforts us to laugh at Alceste in the Misanthrope because it enables us to set aside an example of immaculate honesty that would otherwise make us ashamed of our own deficiencies. Such laughter, he argues, is bad for... (shrink)