The current contents of visual working memory can be disrupted by previously formed memories. This phenomenon is known as proactive interference, and it can be used to index the availability of old memories. However, there is uncertainty about the robustness and lifetime of proactive interference, which raises important questions about the role of temporal factors in forgetting. The present study assessed different factors that were expected to influence the persistence of proactive interference over an inter-trial interval in the visual recent (...) probes task. In three experiments, participants encoded arrays of targets and then determined whether a single probe matched one of those targets. On some trials, the probe matched an item from the previous trial, whereas on other trials the probe matched a more distant item. Prior studies have found that recent negative probes can increase errors and slow response times in comparison to non-recent negative probes, and this offered a behavioral measure of proactive interference. In Experiment 1, factors of array size and inter-trial interval were manipulated in the recent probes task. There was a reduction in proactive interference when a longer delay separated trials on one measure, but only when participants encoded two targets. When working memory capacity was strained by increasing the array size to four targets, proactive interference became stronger after the long delay. In Experiment 2, the inter-trial interval length was again manipulated, along with stimulus novelty. Proactive interference was modestly stronger when a smaller number of stimuli were used throughout the experiment, but proactive interference was minimally affected by the inter-trial interval. These findings are problematic for temporal models of forgetting, but Experiment 3 showed that proactive interference also resisted disruption produced by a secondary task presented within the inter-trial interval. Proactive interference was constantly present and generally resilient to the different manipulations. The combined data suggest a relatively durable, passive representation that can disrupt current working memory under a variety of different circumstances. (shrink)

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek (...) 'character' words, including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero. (shrink)

Sophocles is often considered the least philosophical of the three great Greek tragedians. By analysing a fundamental principle of Greek popular ethics, this study challenged that presumption, and remains of vital interest to students, scholars and non-specialists interested in Greek culture and drama.

Autistic people often camouflage, i.e. they adopt certain behaviors in order to fit in in neurotypical environments. Autobiographical accounts suggest that autistic trans people experience camouflaging in a unique, more complex and often heightened way than cis autistic people, and this has not been studied. They have autistic traits to mask, as well as gendered traits, in a hostile neuronormative and cisnormative world. This intersection of experience is worthy of exploration, not least because this group of people are typically misunderstood (...) and silenced, as well as being particularly at risk of the mental distress that can come from camouflaging. In this paper I discuss autistic trans people’s accounts of camouflaging and begin a preliminary phenomenological analysis. I draw primarily from Simone de Beauvoir’s concept of “doubling”, whereby (cis) women experience being both oneself and the image of oneself, under patriarchal objectification. One can argue that autistic people are similarly “doubled” when camouflaging, experiencing their neurodivergent selves as well as their more neurotypical presentation. Going beyond de Beauvoir, it can be further argued that many trans people experience “tripling” and therefore that trans autistic people experience being at least “quadrupled” if not “quintupled”. (shrink)

Human uterus transplantation is currently under investigation as a treatment for uterine infertility. Without a uterus transplant, the options available to women with uterine infertility are adoption or surrogacy; only the latter has the potential for a genetically related child. UTx will offer recipients the chance of having their own pregnancy. This procedure occurs at the intersection of two ethically contentious areas: assisted reproductive technologies and organ transplantation. In relation to organ transplantation, UTx lies with composite tissue transplants such as (...) face and limb grafts, and shares some of the ethical concerns raised by these non-life saving procedures. In relation to ART, UTx represents one more avenue by which a woman may seek to meet her reproductive goals, and as with other ART procedures, raises questions about the limits of reproductive autonomy. This paper explores the ethical issues raised by UTx with a focus on the potential gap between women's desires and aspirations about pregnancy and the likely functional outcomes of successful UTx. (shrink)

Ruby Meager; The Dangers of Aestheticism in Schooling, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 23–30, https://doi.org/10.1111.

As the number of consumer transgressions continues to increase, so do their financial repercussions for companies. Though academic and managerial interest in addressing this issue is growing, research on how to dissuade consumers from committing transgressions remains scarce. Drawing on the mental imagery literature and normative moral theory, the present research examines a novel way of reducing consumers’ appraisals of their own transgressions. Whereas an actor-imagery perspective fosters a teleological, egoistic view of morality and, in turn, induces moral leniency, having (...) consumers adopt an observer-imagery perspective fosters a deontological view of morality and, in turn, induces moral stringency. The effects are robust across various types of consumer transgressions, including the purchase of counterfeit products and return fraud in the form of wardrobing. Study 2 also rules out vividness as an alternative explanation for these effects. Theoretical and managerial implications are discussed. (shrink)

Using historical documents and evidence gathered in the field, Rubie Watson provides a social history of the 600-year-old Chinese lineage village of Ha Tsuen in the New Territories of Hong Kong, and demonstrates the crucial role that the lineage played in the evolution of the community from a few scattered households in the fourteenth century into a regional power from the 1700s onwards. Despite a patrilineal ideology that extols the virtues of brotherhood and equality, Dr Watson shows that the lineage (...) has in fact played a central role in the formation, development and maintenance of an élite class of landlords and merchants, who, even though their economic importance has now declined, continue to exert political control. Dr Watson examines the dynamics of interclass relations within a single lineage and shows how these relations have been transformed as a consequence of the growth of wage labour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout (...) the time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

The #1bestseller that presents a funny, honest, and engaging look at the craziness of modern life, explaining why we're all just a little bit out of our minds. In Sane New World, Ruby Wax - comedian, writer and mental health advocate - shows us just how our minds can send us mad as our internal critics play on a permanent loop tape. 'Don't do that.. why you... you didn't... should have... but you didn't...'. Ruby knows those voices well. (...) She has been on a tough but ultimately enlightening journey that has taken her from battling depression to achieving a Masters Degree from Oxford University in Mindfulness-based Cognitive Therapy. In Sane New World, Ruby helps us all understand why we sabotage our sanity, how our brains work and how we can rewire our thinking - often through simple mindfulness techniques - to find calm in a frenetic world. (shrink)

Scholars are beginning to use the concept medicalization of poverty to theorize how the United States spends large amounts of money on illnesses related to poverty but invests much less in preventing these illnesses and the conditions that create them. This study examines the connection between poverty, disease burden and health-related costs through the in-depth interviews of 86 Black mothers living in neighborhoods with high levels of violence on the South Side of Chicago. The rippling costs of poverty and violence (...) include 56 percent of the mothers reporting post-traumatic stress disorder symptoms and 48 percent reporting mild to severe depressive symptoms. Mothers also report poor housing quality such as “toxic mold.” The physical costs include reports of back pains, stomach aches, hair falling out, panic attacks, hands shaking, insomnia, fainting from exhaustion and lack of sexual desire, and children with asthma and osteomyelitis reportedly from the exposure to mold. Transformative solutions are explored that build upon the cultural resources of Black mothers and engage policy levers. (shrink)

Fairy tales have long been integral to human culture, functioning as tools for moral instruction, reflections of societal norms, and explorations of the unconscious mind. Rooted in oral traditions and later preserved by collectors like the Brothers Grimm and Charles Perrault, these stories—featuring archetypal characters such as heroes, heroines, and villains, and motifs such as transformations and perilous journeys—have transcended time, embedding themselves in our collective imagination. Traditionally, they reinforced the values of their era, such as patriarchal structures and clear (...) moral binaries, offering frameworks to understand human experience.However, in recent decades, fairy tale motifs have evolved, moving beyond their original boundaries into contemporary literature and film. This research paper examines how these motifs are adapted and reimagined today, exploring their evolution, significance, and impact on modern storytelling. It analyzes how tropes like the heroine’s journey, transformation, and the monstrous villain are repurposed to address current societal issues, subvert traditional narratives, and create space for new identities, while reflecting on their dual role in preserving and reinventing tradition.In their traditional form, fairy tales often upheld societal norms. Heroines like Cinderella and Sleeping Beauty were passive, awaiting rescue by princes, reinforcing patriarchal ideals where women depended on male saviors. Villains—witches, wolves, and stepmothers—were unambiguous evils, defeated to restore order, while transformations, like the Beast’s return to humanity, served as rewards or punishments. Contemporary adaptations, however, transform these conventions into dynamic narratives that resonate with modern audiences. The heroine’s journey, for instance, shifts from passivity to agency. In Neil Gaiman’s The Sleeper and the Spindle (2014), a princess awakens herself and embarks on a mission, while Disney’s frozen (2013) redefines the journey as one of self-discovery and sisterhood, not romance. These retellings align with feminist ideals, challenging the damsel trope and reflecting a societal push toward gender equality.Transformation, another key motif, evolves from a simple plot device into a metaphor for identity and self-acceptance. In classic tales, it marked moral outcomes—the Beast’s human restoration or a stepmother’s demise. Modern works, like Angela Carter’s The Bloody Chamber (1979), use it to explore psychological growth, as the Bluebeard protagonist matures from naivety to defiance. Guillermo del Toro’s Pan’s Labyrinth (2006) blurs reality and fantasy through transformation, mirroring the heroine’s resilience amid war. These adaptations address contemporary issues like trauma and identity fluidity, offering a lens for navigating a complex world.The monstrous villain also shifts from a one-dimensional evil to a nuanced figure reflecting modern anxieties. Traditional tales cast villains as clear threats—ogres or witches—whose defeat upheld justice. Today’s narratives humanize them, exploring their motivations. Gregory Maguire’s Wicked (1995) reimagines the Wicked Witch as an outcast fighting prejudice, while Maleficent (2014) portrays its titular character as a betrayed protector, her “monstrosity” born from trauma. These revisions question moral absolutes, critiquing power, corruption, and marginalization, and inviting audiences to reconsider the “other” in a polarized society.The impact of these adaptations is profound, blending mythic resonance with relevance to current issues. They subvert traditional narratives to challenge power structures and broaden identity representation. Nalo Hopkinson’s Midnight Robber (2000) uses fairy tale motifs to explore postcolonial survival, while Malinda Lo’s Ash (2009) reimagines Cinderella with a lesbian romance, enhancing inclusivity. These works show how fairy tales, once rigid, now flexibly reflect diverse experiences and interrogate societal realities, from gender dynamics to systemic injustice.This evolution highlights a dual role: preserving tradition while reinventing it. Films like The Shape of Water (2017), echoing Beauty and the Beast, maintain emotional cores—love and wonder—while updating aesthetics and themes for today’s audiences. Reinvention breaks outdated constraints, as seen in the proliferation of fairy tale-inspired works across novels, films, and games, affirming their adaptability and cultural potency. This balance ensures their continued relevance, keeping them alive for new generations.The significance lies in fairy tales’ role as meaning-making tools. Historically, they processed fears and hopes, a function they retain amid modern challenges—technological change, political upheaval, and shifting identities. The heroine’s journey reflects agency against barriers, transformation mirrors identity fluidity, and the monstrous villain captures power’s ambiguities, engaging both the unconscious (as Jung and Bettelheim noted) and conscious concerns. This adaptability makes them a vibrant intersection of tradition and innovation.Ultimately, contemporary fairy tale adaptations—by reimagining the heroine’s journey, transformation, and the monstrous villain—address societal issues, subvert norms, and carve out new identity spaces. They preserve timeless appeal while reflecting 21st-century complexities, remaining a living part of culture. Far from relics, fairy tales evolve with each generation, illuminating the human condition and affirming storytelling’s power to mirror and shape our world. (shrink)

The AI world was rocked with controversy when Blake Lemoine, an AI researcher at Google claimed that their new LaMDA model was sentient. This Curmudgeon’s Corner article explores his claims critically by contrasting them to the original LaMDA paper released by the team of researchers at Google. The piece explores the human tendency for anthropomorphization via historical chatbots such as Eliza and potential reasons why we developed this propensity. It addresses the potential causes for the model’s choice of words. Subsequently, (...) using the scoring criteria of the language model, I provide an explanation for the model’s behavior in the conversation with Lemoine. Finally, I explore some of Lemoine’s assertions and break down the logical gaps they hold. I conclude on a potential reorientation of the debate in view of our unfortunate tendency. (shrink)

In 1644 George Wither stood outside or without the doors of the House of Commons and delivered a speech to Parliament and the nation simultaneously. Not only did this “print oration” function as a prototype for Areopagitica, A Speech of John Milton [...] to the Parliament of England, but it inspired a genre of print pamphlets that would extend well into the eighteenth century. This article identifies and argues for the popular consequences of the genre, detailing its contribution to England’s (...) developing structure of political communication and representation. (shrink)

Members of marginalized communities experience a lack of representation of their unique life experience in popular fictional media – and if they do see themselves represented, it is often as a stereotype, caricature, or minor character. Black Panther broke this mold by offering abundant, nuanced, and non‐stereotypical representation of Black experience. Black Panther offers a way of interpreting the real world through its fictional representations of Black people and Black society. Fictional works such as Black Panther offer viewers a unique (...) type of what Gaile Pohlhaus calls an epistemic resource : a resource that individuals draw upon in order to know. The hypothetical nation of Wakanda gives audience members of other racial groups a different or new perspective on Black identity, which can aid their interpretations of the real world. Quite the contrary, Black Panther is a film that can elucidate a multitude of Black peoples' experiences and perspectives. (shrink)

Homer in general, and Helen in particular, were of great interest to the lyric poets. This article examines ways in which major fragments of Alcaeus, Ibycus, and Sappho select and combine aspects of the Iliadic Helen in order to pursue various poetic agendas, providing diverse perspectives on the complex issues of Helen's choice, agency, beauty, and eroticism. Since Helen, like Pandora, is a kalon kakon, it proves impossible to praise or blame her unambiguously.

Against the medical and social models of disability are two newer proposals. Elizabeth Barnes’ Minority Body proposes that it is the bodies which are advocated for and included in the disability rights movement which are rightfully called “disabled.” Savulescu and Kahane’s Welfarist approach proposes that disability is intrinsically tied to the effects of bodily states on welfare. They put the need for a consistent and relatively simple normative theory above accounting for standard case judgements about who is and is not (...) disabled or looking at all to membership of the disabled community. I argue that Barnes’ theory offers the best response to issues with the dominant models of disability. Further, I argue that the Welfarist theory operates in a space removed from the wishes and lived experiences of disabled people – separating ‘disability’ from activism entirely – to its detriment. Doing so compromises its explanatory power, over-generalizes the concept and prevents the insertion of meaningful boundaries. Barnes’ ‘solidarity thesis’ soundly conceptualizes disability whilst making room for activist voices. The centering of activist projects makes it stronger. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

Christopher Rowe's new book is an ambitious attempt to walk the tightrope between, on the one hand, bone-headed neglect of Plato's use of dramatic form, and, on the other, obtuse blindness to the presence of a serious philosophical agenda. This locates Rowe on the cutting edge of current methodological controversies, but his book also has deep roots in the past. He harks back to the oft-maligned Paul Shorey to offer an updated, newly sophisticated "unitarian" reading of the dialogues, one that (...) depends heavily on equating Plato's own voice with that of his Socrates, who serves as "[Plato's] alter ego, his persona, his mask". This Socrates is not merely a mouthpiece for a developing Plato's changing views, but a coherent character who represents a consistent Platonic voice throughout the works in which he appears—and even those in which he doesn't. Among other things, this close identification of Plato with Socrates requires Rowe to apply the principle of charity not just to the author, but to his creation. Since Plato and Socrates are one, Plato is fully accountable for all the arguments he assigns to Socrates: there is no dramatic wiggle-room for him to assign the latter any truly bad arguments for his own authorial purposes. (shrink)

Contributed research papers presented at Symposium on "Philosophy, Religion and Culture in Ancient and Medieval Indian Tradition" organized online on 3rd-4th September 2020 by Sanskrit Department, Subhas Chandra Bose Centenary College, Murshidabad.