Foucault (1926-1984) et Wittgenstein (1889-1951) appartiennent, selon une présentation courante, à deux traditions de pensée différentes, pour ne pas dire rivales, dont chacun serait en quelque sorte une figure tutélaire. Au-delà des oppositions des philosophies continentale et analytique, tous deux partagent pourtant un fond commun : une critique radicale de la notion classique de subjectivité, une façon spécifique de concevoir et de pratiquer la philosophie comme manière d'être et de vivre. Tous deux, en philosophant, engagent un discours critique et un (...) exercice de transformation de soi-même, des autres et du monde. Cet ouvrage ne cherche nullement à réconcilier deux traditions adverses. Nul oecuménisme ici, mais plutôt la volonté de faire ressurgir des problèmes dont la force et l'insistance se jouent des clivages institués : le rapport à soi, la conscience et ses illusions, le rapport entre le " je " et le " nous ". Une telle confrontation possède la vertu d'arracher ces deux auteurs au statut de doctrines instituées et figées et de susciter de nouvelles interrogations à propos d'oeuvres prétendument connues et reconnues. Un questionnement contemporain. (shrink)

This book empirically investigates the social practice of ascribing moral responsibility to others for the things they failed to do, and it discusses the philosophical relevance of this practice.0In our everyday life, we often blame others for things they failed to do. For instance, we might blame our neighbour for not watering our plants during our vacation. Interestingly, the attribution of blame is typically accompanied by the attribution of causal responsibility. We do not only blame our neighbour for not watering (...) our plants, but we do so because we believe that not watering the plants caused them to dry up and die. In this book, I investigate how we make moral and causal judgments about omissions. I discuss different philosophical perspectives on this matter, and I outline to what extent the actual social practice is in line with philosophical theories. (shrink)

Dans ces "bulles" de pensées, traversées par un fourmillement de références à l'histoire culturelle et à la philosophie classique, Pascale Seys porte un regard "dézoomé", tantôt grave, tantôt léger, sur nos façons d'agir et de penser. Prenant le pouls d'un monde pressé, elle nous invite à réfléchir au temps qui passe, à l'ambiguïté du bonheur et aux affres du désir, à la splendeur du cosmos, aux vertus du retard, des voyages et de la poésie, autant de mythologies de notre (...) quotidien qui nécessitent, pour être considérées pour ce qu'elles sont, de "déplacer l'éléphant".0. (shrink)

The effects of aging on the cognitive and affective dimensions of theory of mind , and on the latter’s links with other cognitive processes, such as information processing speed, executive functions and episodic memory, are still unclear. We therefore investigated these effects in young , middle-aged and older adults , using separate subjective and objective assessment tasks. Furthermore, a novel composite task probed participants’ abilities to infer both cognitive and affective mental states in an interpersonal context. Although age affected the (...) objective ToM tests, results revealed a direct aging effect on the second-order ToM, but an indirect one on the first-order cognitive ToM, mediated mainly by age-related declines in executive functions. This study supports the notion of an age-related distinction between subjective and objective assessments of ToM, and confirms that ToM is a complex mental ability with several characteristics reliant to some extent on executive processes. (shrink)

There is growing interest in the effect of sound on visual motion perception. One model involves the illusion created when two identical objects moving towards each other on a two-dimensional visual display can be seen to either bounce off or stream through each other. Previous studies show that the large bias normally seen toward the streaming percept can be modulated by the presentation of an auditory event at the moment of coincidence. However, no reports to date provide sufficient evidence to (...) indicate whether the sound bounce-inducing effect is due to a perceptual binding process or merely to an explicit inference resulting from the transient auditory stimulus resembling a physical collision of two objects. In the present study, we used a novel experimental design in which a subliminal sound was presented either 150 ms before, at, or 150 ms after the moment of coincidence of two disks moving towards each other. The results showed that there was an increased perception of bouncing when the subliminal sound was presented at or 150 ms after the moment of coincidence compared to when no sound was presented. These findings provide the first empirical demonstration that activation of the human auditory system without reaching consciousness affects the perception of an ambiguous visual motion display. (shrink)

Recent research on thick terms like “rude” and “friendly” has revealed a polarity effect, according to which the evaluative content of positive thick terms like “friendly” and “courageous” can be more easily canceled than the evaluative content of negative terms like “rude” and “selfish”. In this paper, we study the polarity effect in greater detail. We first demonstrate that the polarity effect is insensitive to manipulations of embeddings (Study 1). Second, we show that the effect occurs not only for thick (...) terms but also for thin terms such as “good” or “bad” (Study 2). We conclude that the polarity effect indicates a pervasive asymmetry between positive and negative evaluative terms. (shrink)

In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its intended aim. The (...) ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality. (shrink)

This article explores how Levinas’s analysis of family relations (paternity, filiality, fecundity, and maternity) and the ethical relationship to the other (requiring both a paradoxical process of separation and the aptitude to be ethically ordained) can retrospectively enlighten our understanding of King Lear. It first shows how, in the Shakespearean tragedy, Levinas’s ethical answer, “here I am,” cannot be dissociated from fearless speech, which becomes the manifestation of the ethical relationship to the other. It then focuses on the Levinasian paradox (...) of “separation” as a prerequisite to the ethical relationship, and sees how this is radically distorted in the families presented in King Lear. It finally considers Levinas’s idea of maternity as a responsibility for others to the point of substitution, to questions the absence of mothers in King Lear and argue that the denouement of the tragedy can be regarded as a gender-reversed variation on the mater dolorosa motif. (shrink)

Satisfaction, well-being, pleasure or happiness are some of the terms used by researchers who attempt to characterize the positive emotions and experiences of teachers in their professional practice. Without choosing between these different conceptual frameworks, this article aims to identify the determinants of this “happiness”, particularly in relation to the expectations upon entering the profession. It emphasizes the importance of student-related factors, in particular the quality of the relationship that teachers have with their students and the quality of learning, and (...) their reciprocal influence. Training courses to strengthen teachers' skills in these two areas are then seen as a way to increase the happiness of learning and teaching. The article finally insists on the importance of the evaluation of the trainings, by presenting a currently under development device to evaluate a training action aiming at reinforcing the psychosocial skills of 1st grade students, which is carried out in a school district of the Paris region. This device uses the CLASS (Classroom Assessment Scoring System) tool, not yet well known in France. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the class (...) off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

Hope, gratitude, fear, and disgust may all be key to encouraging preventative action in the context of COVID-19. We pre-registered a longitudinal experiment, which involved monthly data collections from September 2020 to September 2021 and a six-month follow-up. We predicted that a hope recall task would reduce negative emotions and elicit higher intentions to engage in COVID-19 preventative behaviours. At the first time point, participants were randomly allocated to a recall task condition (gratitude, hope, or control). At each time point, (...) we measured willingness to engage in COVID-19 preventative behaviours, as well as experienced hope, gratitude, fear, and disgust. We then conducted a separate, follow-up study in February 2022, to see if the effects replicated when COVID-19 restrictions were relaxed in the UK. In the main study, contrary to our pre-registered hypothesis, we found that a gratitude recall task elicited more willingness to engage in COVID-19 preventative behaviours in comparison to the neutral recall task. We also found that experienced gratitude, hope, and fear were positively related to preventative action, while disgust was negatively related. These results present advancement of knowledge of the role of specific emotions in the COVID-19 pandemic. (shrink)

Homophobia has decreased in past decades, but gut-level disgust towards gay men lingers. It has been suggested that disgust can be reduced by inducing its proposed opposite emotion, elevation. Rese...

_Rogues_, published in France under the title _Voyous_, comprises two major lectures that Derrida delivered in 2002 investigating the foundations of the sovereignty of the nation-state. The term "_État voyou_" is the French equivalent of "rogue state," and it is this outlaw designation of certain countries by the leading global powers that Derrida rigorously and exhaustively examines. Derrida examines the history of the concept of sovereignty, engaging with the work of Bodin, Hobbes, Rousseau, Schmitt, and others. Against this background, he (...) delineates his understanding of "democracy to come," which he distinguishes clearly from any kind of regulating ideal or teleological horizon. The idea that democracy will always remain in the future is not a temporal notion. Rather, the phrase would name the coming of the unforeseeable other, the structure of an event beyond calculation and program. Derrida thus aligns this understanding of democracy with the logic he has worked out elsewhere. But it is not just political philosophy that is brought under deconstructive scrutiny here: Derrida provides unflinching and hard-hitting assessments of current political realities, and these essays are highly engaged with events of the post-9/11 world. (shrink)

L’histoire des cultures coloniales a été renouvelée depuis une vingtaine d’années par un certain nombre de travaux en France, essentiellement consacrés à l’analyse de la propagande et des expositions, des sciences ou encore de l’immigration des populations des colonies en métropole. Ces publications s’inscrivent dans le débat, plus ancien et développé dans le monde anglophone, sur l’imprégnation des habitants de métropole par l’entreprise ultramarine, sur l’articulation entre histoire « natio...

Largement déterminée par la « scène primitive » de la Révolution française, notre conception de la citoyenneté est encore souvent associée à l’exercice des droits de suffrage et d’éligibilité. Le moment révolutionnaire, en abolissant les privilèges d’Ancien Régime et en promulguant la Déclaration des droits de l’homme et du citoyen, a, de fait, fondé une citoyenneté juridique définie par un ensemble de droits « naturels », civils et politiques. Or l’histoire des femmes et du genre, comme les...

Résumé François Morellet parle de « hasard programmé » pour traduire la manière selon laquelle la production de l’œuvre est cadrée : l’artiste accueille ou enregistre les produits d’un processus aléatoire qu’il a suscité. La forme d’automatisme que ce mode de fabrication suppose invite à établir une analogie entre la réalisation de ces objets et certains des principes de la prise photographique, à interroger la portée du « hasard programmé » quand c’est la production d’une photographie qui est en jeu.

This volume contains the speech given by Derrida at Emmanuel Levinas's funeral on December 27, 1995, and his contribution to a colloquium organized to mark the first anniversary of Levinas's death. For both thinkers, the word _adieu_ names a fundamental characteristic of human being: the salutation or benediction prior to all constative language and that given at the moment of separation, sometimes forever, as at the moment of death, it is also the _a-dieu_, for God or to God before and (...) in any relation to the other. In this book, Derrida extends his work on Levinas in previously unexplored directions via a radical rereading of _Totality and Infinity_ and other texts, including the lesser-known talmudic readings. He argues that Levinas, especially in _Totality and Infinity,_ bequeaths to us an "immense treatise of hospitality," a meditation on the welcome offered to the other. The conjunction of an ethics of pure prescription with the idea of an infinite and absolute hospitality confronts us with the most pressing political, juridical, and institutional concerns of our time. What, then, is an ethics and what is a politics of hospitality? And what, if it ever _is,_ would be a hospitality surpassing any ethics and any politics we know? As always, Derrida raises these questions in the most explicit of terms, moving back and forth between philosophical argument and the political discussion of immigration laws, peace, the state of Israel, xenophobia—reminding us with every move that thinking is not a matter of neutralizing abstraction, but a gesture of hospitality for what happens and still may happen. (shrink)

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; (...) as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing with another. Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. _Memoirs of the Blind_ is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's _Lettres sur les aveugles_, the notion of mnemonic art in Baudelaire's _The Painter of Modern _ _Life_, and Merleau-Ponty's _The Visible and the _ _Invisible_. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, _Memoirs of the Blind_ extends and deepens the meditation on vision and painting presented in _Truth and _ _Painting_. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts. (shrink)

Jacques Derrida is, in the words of the_ New York Times_, "perhaps the world's most famous philosopher—if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. _The Work of Mourning_ is a collection that honors those friendships in the wake of passing. Gathered here are texts—letters of condolence, memorial essays, (...) eulogies, funeral orations—written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jabès, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-François Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servière. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead—the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes—how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."—Steven Poole, _Guardian_ "Strikingly _simpa_ meditations on friendship, on shared vocations and avocations and on philosophy and history."—_Publishers Weekly _. (shrink)

Jacques Derrida is, in the words of the_ New York Times_, "perhaps the world's most famous philosopher—if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. _The Work of Mourning_ is a collection that honors those friendships in the wake of passing. Gathered here are texts—letters of condolence, memorial essays, (...) eulogies, funeral orations—written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jabès, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-François Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servière. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead—the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes—how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."—Steven Poole, _Guardian_ "Strikingly _simpa_ meditations on friendship, on shared vocations and avocations and on philosophy and history."—_Publishers Weekly _. (shrink)

The most common approach to understanding the semantics of the concept of pain is third-person thought experiments. By contrast, the most frequent and most relevant uses of the folk concept of pain are from a first-person perspective in conversational settings. In this paper, we use a set of linguistic tools to systematically explore the semantics of what people communicate when reporting pain from a first-person perspective. Our results suggest that only a pluralistic view can do justice to the way we (...) talk about pain from a first-person perspective: The semantic content of the folk concept of pain consists of information about both an unpleasant feeling and a disruptive bodily state. Pain linguistics thus provides new insights into ordinary pain language and poses an interesting challenge to the dominant unitary views of pain. (shrink)

Als Fichte sich mit seiner Appellation an ein »gemischtes« Publikum, an Philosophen aber auch an Nicht-Philosophen wandte, waren für ihn die Zeiten eines scheinbar unheilbaren Konflikts zwischen theoretischem Denken und religiösem Gefühl längst vorüber. Ebenso auch jene Zeiten, in denen Fichte etwas vorschnell seine Zustimmung zu den Dekreten, die über die Religion wachen sollten, zugegeben hatte.

In this essay, written for the public presentation of Wilhelm von Humboldt, Scritti filosofici, edited by Giovanni Moretto and Fulvio Tessitore , the author underlines the controversial relationship between Humboldt’s historical-anthropological thought and Kantian criticism, which represents nevertheless a premise both essential and encumbering of Humbolt’s reflection.

The standard view in philosophy is that responsibility entails causation. Most philosophers treat this entailment claim as an evident insight into the ordinary concepts of responsibility and causation. Further, it is taken to be equally obvious that the reversal of this claim does not hold: causation does not entail responsibility. In contrast, Sytsma and Livengood have put forward an account of the use of ordinary causal attributions (statements like “X caused Y”) that contends that they are typically used interchangeably with (...) responsibility attributions (statements like “X is responsible for Y”). Put in terms of the concepts at play in these attributions, this account suggests that the reversal of the entailment claim may also hold, and, a fortiori, there would be mutual entailment between the ordinary concepts of responsibility and causation. Using the cancellability test, we report the results of three pre-registered studies providing empirical evidence that causation and responsibility are mutually entailed by each other. (shrink)