ABSTRACTTwo high-powered experiments examined the role of evaluative response production in the extinction of evaluative conditioning by positioning EC in the procedural and conceptual framewo...

Recent studies have shown that same‐race (SR) faces are processed more holistically than other‐race (OR) faces, a difference that may underlie the greater difficulty at recognizing OR than SR faces (the “other‐race effect”). This article provides original evidence suggesting that the holistic processing of faces may be sensitive to the observers' racial categorization of the face. In Experiment 1, Caucasian participants performed a face‐composite task with Caucasian faces, Asian faces, and racially ambiguous morphed face stimuli. Identical morphed face stimuli were (...) processed more holistically when categorized as SR than as OR faces. Experiment 2 further suggests that this finding was not underlain by strategic or training effects. Overall, these results support the view that one's categorization of a face as belonging to the same or another race plays a critical role in the holistic processing of this face. (shrink)

In Study 1, we examined the moderating impact of alexithymia (i.e., a difficulty identifying and describing feelings to other people and an externally oriented cognitive style) on the automatic processing of affective information. The affective priming paradigm was used, and lower priming effects for high alexithymia scorers were observed when congruent (incongruent) pairs involving nonverbal primes (angry face) and verbal target were presented. The results held after controlling for participants' negative affectivity. The same effects were replicated in Studies 2 and (...) 3, with trait anxiety and depression entered as additional covariates. In Study 3, no moderating impact of alexithymia was found for verbal-facial pairs suggesting that the results cannot be merely explained in terms of transcoding limitations for high alexithymia scorers. Overall, the present results suggest that alexithymia could be related to a difficulty in processing and automatically using high arousal emotional information to respond to concomittant behavioural demands. (shrink)

Past research has found that mere in‐group/out‐group categorizations are sufficient to elicit biases in face memory. The current research yields novel evidence that mere social categorization is also sufficient to modulate processes underlying face perception, even for faces for which we have strong perceptual expertise: same‐race (SR) faces. Using the composite face paradigm, we find that SR faces categorized as in‐group members (i.e., fellow university students) are processed more holistically than are SR faces categorized as out‐group members (i.e., students at (...) another university). Hence, holding perceptual expertise with faces constant, categorizing an SR target as an out‐group member debilitates the strong holistic processing typically observed for SR faces. (shrink)

ABSTRACTResearch that dissociates different types of processes within a given task using a processing tree approach suggests that attitudes may be acquired through evaluative conditioning in the absence of explicit encoding of CS-US pairings in memory. This research distinguishes explicit memory for the CS-US pairings from CS-liking acquired without encoding of CS-US pairs in explicit memory. It has been suggested that the latter effect may be due to an implicit misattribution process that is assumed to operate when US evocativeness is (...) low. In the present research, the latter assumption was supported neither by two high-powered experiments nor by complementary meta-analytic evidence, whereas evocativeness exerted an influence on explicit memory. This pattern of findings is inconsistent with the view that CS-liking acquired without encoding of CS-US pairs in explicit memory reflects an implicit misattribution process at learning. Hence, the underlying learning process is awaiting further empirical scrutiny. (shrink)

ABSTRACTIn four studies, we examined the moderating impact of Interoceptive Accuracy and Interoceptive Sensibility (IS, ass...

Ernst Cassirer (1874-1945) n'aura cesse de s'interesser a Descartes et a la philosophie classique, depuis sa dissertation de Marbpourg (1899), qui traite de la critique cartesienne de la connaissance physico-mathematique, en passant par la monographie qu'il consacre a Leibniz en 1902, jusqu'au premier volume de l'Erkenntnisproblem ou de la philosophie des formes symboliques. Les etudes reunies ici proposent, a travers l'analyse des figures singulieres de Corneille et de Christine de Suede, une remarquable situation de la pensee cartesienne a l'age (...) classique. (shrink)

" Pourquoi inventa Poppaea de masquer les beautés de son visage, que pour les renchérir à ses amants? " demande Montaigne. Le caché fascine. Voir, regarder, c'est désirer saisir, pénétrer, posséder. Devenir " œil vivant " : tel est le vœu formulé par Rousseau. Interrogeant quelques grandes œuvres - Corneille, Racine, La Bruyère, Rousseau, Stendhal, Jean Starobinski montre comment, dans la création littéraire, l'exigence du regard, dépassant et détruisant la réalité visible, entraîne dans le monde de l'imaginaire ; comment (...) aussi, aiguisée par l'obstacle et la déception, elle incite à toutes les perversions : exhibitionnisme, voyeurisme, sadisme, refus de la réflexion. (shrink)

The great Roman historian Livy describes a radical attempt at conflict resolution in his version of the story of the Horatii. The warring cities of Rome and Alba agree to settle their differences by pitting two sets of triplets against each other in a battle to the death. Two of the Roman champions, the Horatii, are killed, but the remaining brother wins the day for his city. In a further twist, he then goes on to kill his sister when he (...) finds her grieving for one of the dead Alban brothers, to whom she was betrothed. Although guilty of a dreadful crime, by the will of the people the murderer is spared because of his services to the state. In the version of the story dramatized by the seventeenth-century French playwright Pierre Corneille, it is rather the Roman king who saves the surviving Horatius by deeming that his heroism places him above the law. This article considers whether the interests of the state can offset private crimes, as appears to be the case in the versions of the story told by both Livy and Corneille; and it concludes by referring to Livy's continuation of the story, which shows the resolution of the conflict to be short-lived. (shrink)

In this essay, I compare the meaning of political representation in Hobbes? Leviathan and Corneille's Cinna. For both authors, a monarch is a ?representer? and representation is a necessary condition of effective sovereignty. However, the term ?representation? means something entirely different in Hobbes and in Corneille. For the former, it means acting and speaking in the name of a multitude and in its absence; for the latter, it means acting and speaking in the presence of a political public, (...) with the intention to impress this audience. I would like to argue that our late modern (or postmodern) conception of sovereignty can be seen as being (unconsciously) based on the conjunction of Hobbes? and Corneille's different notions of representation. (shrink)

I am grateful to the National Endowment for the Humanities for a year-long fellowship that enabled me to write major portions of this book; ...

L’ouvrage que publie Valérie Beaudouin, tiré de sa thèse soutenue en 2000, se signale par de nombreuses qualités, parmi lesquelles on distinguera l’ampleur de la matière étudiée, l’originalité de la démarche et des méthodes, l’intérêt neuf et majeur de maints résultats, le renouvellement méthodologique qu’il apporte dans le domaine de la métrique française. L’auteur s’est proposé de décrire le vers du théâtre classique, en s’appuyant sur un corpus constitué de la totalité des pièces de Cornei...

In Corneille’s Horace the hero is brought to trial for having defended Rome’s integrity by killing his own sister. The fifth act of the play is devoted to this trial, but should also be read like an allegorical re-enactment of the Querelle du Cid, during which Corneille himself was put to a kind of a ‘’trial’’ by colleagues and critics scandalized by the moral and ideological audacity of this first play dedicated to a criminal hero. Our paper tries (...) to point out in detail the analogies that authorize such a reading. (shrink)

In Corneille’s Horace the hero is brought to trial for having defended Rome’s integrity by killing his own sister. The fifth act of the play is devoted to this trial, but should also be read like an allegorical re-enactment of the Querelle du Cid, during which Corneille himself was put to a kind of a ”trial’’ by colleagues and critics scandalized by the moral and ideological audacity of this first play dedicated to a criminal hero. Our paper tries (...) to point out in detail the analogies that authorize such a reading. (shrink)

From the late sixteenth to the late seventeenth centuries, French writing is especially concerned with analysing human nature. The ancient ethical vision of man's nature and goal survives, even, to some extent, in Descartes. But it is put into question especially by the revival of St Augustine's thought, which focuses on the contradictions and disorders of human desires and aspirations. Analyses of behaviour display a powerful suspicion of appearances. Human beings are increasingly seen as motivated by self-love: they are driven (...) by the desire for their own advantage, and take a narcissistic delight in their own image. Moral and religious writers re-emphasize the traditional imperative of self-knowledge, but in such a way as to suggest the difficulties of knowing oneself. Operating with the Cartesian distinction between mind and body, they emphasize the imperceptible influence of bodily processes on our thought and attitudes. They analyse human beings' ignorance of their own motives and qualities, and the illusions under which they live their lives. Their critique of human behaviour is no less searching than that of writers who have broken with traditional religious morality, such as Hobbes and Spinoza. A wide range of authors is studied, some well-known, others much less so: the abstract and general analyses of philosophers and theologians are juxtaposed with the less systematic and more concrete investigations of writers like Montaigne and La Rochefoucauld, not to mention the theatre of Corneille, Molière, and Racine. (shrink)

Originally published between 1921 and 1950 the volumes in this collection showcase many of the most important philosophical, political and literary works of Benedetto Croce. The volumes Discuss key political, philosophical and aesthetic issues such as freedom and historical judgment Reveal notes made by Croce from private meetings with Allied forces during 1943 and 1944 Examine and explain the literature of Dante, Goethe, Shakespeare, Ariosto and Corneille Discuss the conception of liberty, liberalism and the relation of individual morality to (...) the State. (shrink)

Le Descartes de Cassirer est un livre profondément original, tant par ses thèmes, qui touchent à la fois au fondement de la métaphysique cartésienne qu'aux rapports avec Corneille ou Christine de Suède, que par sa méthode, laquelle emprunte autant à Goethe qu'à Cohen et entretient une discussion de fond avec Dilthey. Ce livre appartient ainsi à la fois à une série d'études sur l'idéalisme propre à l'école de Marbourg, série en laquelle il côtoie par exemple le Descartes'Erkenntisstheorie de Natorp, (...) et à des études biographiques plus proprement cassirerienne telles par exemple son Kant's Lebel' und Lehre, ou encore ses études sur Rousseau. En dépit de la limpidité du propos et de l'écriture, ici magistralement rendus par la remarquable traduction de Philippe Guilbert, c'est un principe herméneutique très novateur qui commande le travail biographique. Il s'agit de concevoir l'unité dynamique de la vie et de l'œuvre en la reconduisant à la personnalité vivante dont la racine transcendantale est la spontanéité. Si donc Cassirer s'efforce ici de restituer l'unité de la vie et de l'œuvre de Descartes et renvoie à un principe exégétique goethéen, c'est néanmoins sur fond d'une philosophie proprement transcendantale, et donc en se distinguant de Dilthey. Car cette herméneutique, que Cassirer applique notamment à Rousseau, Kant, Goethe, Schiller et Cohen, n'est rendue possible que par l'unité synthétique et productive du sujet que fonde la philosophie des formes symboliques. La structure même de l'ouvrage qui, partant des "Problèmes fondamentaux du cartésianisme", inscrit ensuite cette œuvre dans l'ensemble de son époque, marque bien les niveaux historiographiques ici au travail : on s'élève progressivement de l'histoire vivante d'une œuvre à la Geistesgeschichte, à l'histoire de l'esprit à laquelle elle contribue et en laquelle elle trouve sa pleine signification. Ce livre est donc tout aussi bien une passionnante étude sur Descartes, dont les traductions partielles et fort "libres" ne donnaient jusqu'à aujourd'hui qu'une médiocre idée, qu'un maillon essentiel de la reconstitution de la modernité philosophique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 304-317 [Access article in PDF] Sovereign Love and Atomism in Racine's Bérénice Ellen Mcclure ALTHOUGH CRITICS HAVE NOTED links between the new science of the seventeenth century and the works of La Fontaine and Molière, 1 a similar influence of Epicureanism or even Cartesianism upon French classical tragedy is harder to trace. No two areas of seventeenth-century cultural life would seem farther apart than (...) the emerging science, with its rejection of Aristotelian categories as inadequate to experienced reality, and classical French tragedy, with its antimaterialism and claims to universal truth often bolstered by references to none other than Aristotle himself. Yet René Pintard reminds us that the 1660s and 1670s—the period when many of the tragedies we regard as "classical" were written—saw a strong renewal of interest in the philosophies articulated in the first half of the century. 2 So widespread was this interest that Pierre Gassendi's friend and follower Bernier was able to publish an edition and translation of the philosopher's works in 1674-1675 which proved to be a resounding success. It is hard to believe that the much-discussed new science somehow missed writers of tragedies, especially given the extensive contacts between Molière, La Fontaine and Racine.In this article, I demonstrate this influence by positing that Racine's play Bérénice, ostensibly a reworking of a well-known love story that Corneille was also producing on the Paris stage at the same time, is in part a reflection on the pressing question of what holds the universe together. Through his exploration of the possibility of satisfactory love between two independent sovereigns, Racine explores issues that the revival of Epicureanism had brought into the philosophical foreground. This reading of the play brings into focus the incredibly [End Page 304] important, yet too-often neglected, 3 role of Antiochus, the character whom Racine invented for his version of the play. I will show that his tragic in-betweenness offers a necessary alternative to Titus' and Bérénice's valorization of self-contained sovereignty. I Before embarking on a close reading of the play itself, however, I would like to offer a brief survey of the debate to which I believe Racine refers. Both Michel Foucault and Timothy Reiss have identified the seventeenth century as a transitional period between the age of correspondences exemplified in Aristotelian philosophy and the age of representation and quantification that characterized eighteenth-century thought. 4 This transition, however, was far from smooth, as philosophers sought to articulate a universe whose separate and radically de-hierarchized elements remained somehow joined together.For most seventeenth-century philosophers, the sacrifice of Aristotelian categories and scholasticism in no way lessened the imperative for a sense of divine order and causation. Gassendi's often self-contradictory efforts to reconcile Epicurus and Christianity provide perhaps the most striking example of this transitional struggle. The atomism posited by Epicurus through Lucretius posed particular difficulties for a Christian worldview. A world governed by the chance interactions of atoms eliminates any sense that things happen for a purpose; God cannot be the benevolent author and overseer of the universe. Gassendi's equal respect for atomism and for Christianity should be read as evidence of the profound struggle between separateness and interconnection (or, as Gassendi would call it, harmony) taking place during this period. 5 For, as Bloch points out, although Gassendi partially reconciled the demands of the two systems by situating atoms in an uncreated, infinite, and contiguous space and time, he continued to hold to the profoundly troubling existence of the void in the universe. Once again, the chief objection to the void implicit in atomism was religious, since if God is everywhere, the void cannot exist, and likewise, God cannot create nothing. The revival of stoicism supplied instead a vision of the universe ultimately comprised and held together by an ethereal pneuma that some neo-Stoics did not hesitate to identify as a sort of divine presence. 6 Descartes himself made heroic attempts, in his Principes... (shrink)

ZusammenfassungDer Beitrag geht von der These aus, dass Goethes Arbeit an der ›klassischen‹ Dramenform sich einer tieferen Einsicht in die zeitliche wie rechtliche Problematik der ›tragédie classique‹ verdankt als allgemein angenommen. Dabei dürfte es maßgeblich die Französische Revolution gewesen sein, die eine neue Attraktivität der ›alten‹ Form bewirkte. Das zeigt sich vor allem an Die Natürliche Tochter, einem Stück, in dessen Entstehungszeit nicht zufällig Goethes Übersetzungen zweier Dramen Voltaires fallen. Figurationen politischer Gründung und Legitimation bildeten das Zentrum des ›klassischen‹ Dramas (...) bereits bei Corneille und stellten es zuverlässig auf eine um 1800 für konservative Autoren aktuelle Zerreißprobe. Die forciert gelassene Präsentation legitimer Herrschaft unter der Berufung auf Zeitkontinuität und lang währende ›Gewohnheiten‹ stand in der ›tragédie classique‹ nämlich in massiver Spannung zur normativen Forderung der ›Einheit‹ der Zeit, die das Drama auf eine disziplinierte Zeitökonomie und idealerweise sogar auf die Synchronisierung von dargestellter Zeit und Zeit der Darstellung verpflichtete. Dort, wo Corneille solche Spannungen entweder zu kaschieren oder politisch zu nutzen versuchte, reißt Goethe in Die Natürliche Tochter zwischen Figurenrede und Dramaturgie eine unüberwindbare Kluft und lässt ursprüngliche Funktionen der ›klassischen‹ Zeitökonomie konsequent leerlaufen. Sein Drama betreibt demnach keine restaurative Formpolitik, sondern führt die historische Uneinholbarkeit der ›klassischen‹ Form angesichts zeitgenössischer politischer Entwicklungen vor.The contribution is prompted by the observation that Goethe had deep insight into the temporal and legal problems of the ›tragédie classique,‹ which was fundamental to his work on the ›classical‹ drama. It was most likely the upheaval in the wake of the French Revolution that rendered the ›old‹ form more attractive. This is especially true for Die Natürliche Tochter. The play was, not coincidentally, written at the same time as Goethe’s translations of two of Voltaire’s dramas. Meanwhile, figurations of political foundation and legitimation had already advanced to the centre of ›classical‹ drama in Corneille’s work. The enforced serene presentation of legitimate rule of the ›tragédie classique,‹ with its reference to the continuity of time and age-old ›habits,‹ was in massive tension with the normative demand for the ›unity‹ of time, which committed the drama to a disciplined economy of time – ideally even to a synchronization of time represented and the time of representation. Where Corneille attempted to either conceal or politically exploit such tensions, Goethe in Die Natürliche Tochter forces an insurmountable chasm between dramaturgy and the speech of the characters and consistently allows the original functions of the ›classical‹ economy of time to run dry. Thus, his drama does not pursue a restorative politics of form, but rather demonstrates the historical unassailability of the ›classical‹ form in the face of contemporary political developments. (shrink)

What is the body? How was it culturally constructed, conceived, and cultivated before and after the advent of rationalism and modern science? This interdisciplinary study elaborates a cultural genealogy of the body and its legacies to modernity by tracing its crucial redefinition from a live anatomical entity to disembodied, mechanical and virtual analogs. The study ranges from Baroque, pre-Cartesian interpretations of body and embodiment, to the Cartesian elaboration of ontological difference and mind-body dualism, and it concludes with the parodic and (...) violent aftermath of this legacy to the French Enlightenment. It engages work by philosophical authors such as Montaigne, Descartes and La Mettrie, as well as literary works by d'Urfé, Corneille and the Marquis de Sade. The examination of sexuality and the emergence of sexual difference as a dominant mode of embodiment are central to the book's overall design. The work is informed by philosophical accounts of the body (Nietzsche, Foucault, Merleau-Ponty), by feminist theory (Butler, Irigaray, Bordo), as well as by literary and cultural historians (Scarry, Stewart, Bynum, etc.) and historians of science (Canguilhem, Pagel, and Temkin), among others. It will appeal to scholars of literature, philosophy, French studies, critical theory, feminist theory, cultural historians and historians of science and technology. Dalia Judovitz is Professor of French, Emory University. She is also author of Unpacking Duchamp: Art in Transit and Subjectivity and Representation in Decartes: The Origins of Modernity. (shrink)

Introduction.--Montaigne.--Le songe de Descartes.--Pascal.--Molière.--Corneille.--Notes sur le temps racinien.--Madame de La Fayette.--Fontenelle.--L'abbé Prévost.--Rousseau.--Diderot.--Benjamin Constant.--Vigny.--Théophile Gautier.--Flaubert.--Baudelaire.--Valéry.--Proust.

Richard Watson’s Descartes’s Ballet engages three main questions uncommon to traditional Cartesian scholarship: Did Descartes script La Naissance de la Paix, the ballet performed in honor of Queen Christina’s twenty-third birthday in December 1649? Did Descartes have a political philosophy? Did Descartes read the French dramatist Pierre Corneille? Watson answers no, yes, and yes.By emphasizing the complete lack of evidence that Descartes wrote La Naissance de la Paix, Watson disarms the suggestion made by Adrien Baillet, Descartes’s seventeenth-century biographer, that (...) Descartes authored the ballet. Watson further suggests that only someone who was immersed in the subtleties of political culture in the Swedish court and was in Christina’s confidence could have written it. And Descartes, he argues, could not have met this description. Had it been written by Descartes, the ballet could have provided a foundation on which to build an interpretation of Cartesian political philosophy. Without it, explicit textual support for the construction of Descartes’s political philosophy is nonexistent. Undaunted by the lack of texts, Watson nevertheless constructs one based largely on the. (shrink)

Transcript and English translation of La naissance de la paix -- Analysis of La naissance de la paix -- Did Descartes write La naissance de la paix? -- Descartes's doctrine of the will -- The power of the will -- Controlling bodily desires -- Willing the good -- The sources of willing -- Did Descartes read Corneille? -- Descartes's political philosophy -- Evidence and methods of construction -- The sovereign state -- Descartes's life and politics -- Discours de la (...) methode -- Constitution of a Swedish Academy -- Arts and sciences -- Les passions de l'âme. (shrink)

The texts published by the STFM provide the richest and most varied panorama of French literature from the Renaissance to modern times: alongside the great names of literature (Ronsard, Corneille, Voltaire or Chateaubriand) and major works and collections (Du Bellay, Rotrou, Saint-Evremond, Scarron, Tristan l'Hermite), there are lesser known authors (Angot de l'Eperonniere, Boindin, Mareschal) and many rare texts, often in their first modern publication.

Parallel zur Philosophie der symbolischen Formen publizierte Cassirer in den 20er Jahren mehrere Aufsätze zur Kunst, die klarer noch als in den philosophischen Darstellungen die Rolle der Literatur als Vermittlerin zwischen der Naturerkenntnis und dem Sittlichen thematisieren. Die Autorin untersucht, wie Cassirers Blick auf die Kultur dabei vor allem von Goethes naturwissenschaflichen Schriften geprägt ist. Sie zeigt, wie Cassirer in den Jahren des Exils den Dialog mit Aby Warburg fortsetzte, mit dessen Kulturwissenschaftlicher Bibliothek er bis zu deren Übersiedlung nach London (...) eng zusammengearbeitet hat. Dort entwickelte er in erneuter Lektüre Goethes, Schillers, Corneilles und Thomas Manns eine Kulturwissenschaft, in der Natur- und Geisteswissenschaften einander nicht gegenüberstehen, sondern sich ergänzen"--Back cover. (shrink)

Descartes's Fictions traces common movements in early modern philosophy and literary method. Emma Gilby reassesses the significance of Descartes's writing by bringing his philosophical output into contact with the literary treatises, exempla, and debates of his age. She argues that humanist theorizing about poetics represents a vital intellectual context for Descartes's work. She offers readings of the controversies to which this poetic theory gives rise, with particular reference to the genre of tragicomedy, questions of verisimilitude or plausibility, and the figures (...) of Guez de Balzac and Pierre Corneille. Drawing on what Descartes says about, and to, his many contemporaries and correspondents embedded in the early modern republic of letters, this volume shows that poetics provides a repository of themes and images to which he returns repeatedly: fortune, method, error, providence, passion, and imagination, for instance. Like the poets and theorists of his age, Descartes is also drawn to the forms of attention that people may bring to his work. This interest finds expression in the mature Cartesian metaphysics of the Meditations, as well as, later, in the moral philosophy of his correspondence with Elisabeth of Bohemia or the Passions of the Soul. This volume thus bridges the gap between Cartesian criticism and late-humanist literary culture in France. (shrink)