Previous research using immersive virtual reality (VR) has shown that after a short period of embodiment of White people in a Black virtual body their implicit racial bias against Black people diminishes. Here we tested the effects of some socio-cognitive variables that could contribute to enhancing or reducing the implicit racial bias. The first aim of the study was to assess the beneficial effects of cooperation within a VR scenario, the second aim was to provide preliminary testing of the hypothesis (...) that empathy and political attitudes could contribute to implicit bias about race, while the third aim was to explore the relationship between political attitudes and empathy. We had (Caucasian) participants embodied in a Black virtual body and engaged either in a cooperative (Coop group) or in a non-cooperative (Neutral group) activity with a confederate experimenter embodying another Black avatar. Before and after VR, we measured participants’ implicit racial bias by means of Implicit Association Test (IAT) and their perceived closeness toward the confederate experimenter. Before VR we also assessed participants’ political attitudes and empathy traits. Results revealed that, as compared to the Neutral group, the Coop group showed lower IAT scores after the social interaction. Interestingly, in the Neutral but not the Coop group the perceived closeness toward the confederate experimenter was associated with the initial racial bias: the more the participants reduced their distance, the more they reduced their IAT score. Moreover, reported traits of empathy and political attitudes significantly explained the variance observed in the initial implicit bias, with perspective-taking, empathic concern, and personal distress being significant predictors of the IAT scores. Finally, there was a relationship between political attitudes and empathy: the more participants considered themselves as left-wing voters, the higher their perspective-taking and empathic concern scores. We discuss these findings within the neuroscientific and social cognition field and encourage scholars from different domains to further explore whether and under which conditions a given manipulation for reducing racial bias could be efficiently transposed in VR. (shrink)

During the oppressive reign of Louis XIV, Gabrielle Suchon was the most forceful female voice in France, advocating women’s freedom and self-determination, access to knowledge, and assertion of authority. This volume collects Suchon’s writing from two works—_Treatise on Ethics and Politics_ and _On the Celibate Life Freely Chosen; or, Life without Commitments _—and demonstrates her to be an original philosophical and moral thinker and writer. Suchon argues that both women and men have inherently similar intellectual, corporeal, and spiritual capacities, which (...) entitle them equally to essentially human prerogatives, and she displays her breadth of knowledge as she harnesses evidence from biblical, classical, patristic, and contemporary secular sources to bolster her claim. Forgotten over the centuries, these writings have been gaining increasing attention from feminist historians, students of philosophy, and scholars of seventeenth-century French literature and culture. This translation, from Domna C. Stanton and Rebecca M. Wilkin, marks the first time these works will appear in English. (shrink)

Deux décrets instituant des honneurs divins pour Septime Sévère et sa famille ont été progressivement reconstitués à partir de fragments trouvés sur l’Acropole ou dans les fouilles de l’Agora. Malgré leur état fragmentaire, ces deux textes athéniens republiés par Simone Follet sous une forme plus complète sont parmi les témoignages les plus significatifs que nous ayons sur le culte des empereurs en Grèce. Ces attestations épigraphiques reflètent la tendance grecque de placer l’empereur régnant au centre de la vénération (bien que (...) les Divi ainsi que les autres membres de la famille impériale, déifiés ou non, aient été inclus dans le groupe des Sebastoi). À un niveau plus général, un autre élément non moins significatif qui ressort des deux décrets est le rôle prépondérant de Julia Domna (le second décret ne s’adresse qu’à elle) qui reflète l’importance et la position prestigieuse occupée par cette impératrice, qui n’apparaît pas par hasard mentionnée sur de nombreuses inscriptions et monnaies. Sa présence aux côtés de Septime Sévère et de ses fils reflète également l’importance du concept de famille dans la propagande impériale sévérienne. (shrink)

Not least among the many enigmas attending the origins and development of the first vernacular lyric in the European Middle Ages is the existence of at least twenty women poets who lived in southern France from about the mid-twelfth to the mid-thirteenth century and who participated in the highly conventionalized poetic system created by the troubadours, those humble poetlovers who sang to their beloved as domna, the superior lady. In periods when the tides of feminism are high these women's (...) voices have insistently claimed our attention, as we try to understand their songs and puzzle over their very existence. Their poetic inventions require us in particular to pay close attention to the subtle, even elusive, concept of voice—its relation to the identity of the poet and the poem's speaker, the elements that characterize its expression, the multiplicity of images created by different voices, and so on. If we are willing to listen and analyze carefully, the trobairitz have much to teach us about the way women poets enter into and find their place in a traditional poetic system created by male poets. Their songs demonstrate with intricate complexity the way poetic fictions play with cultural, literary, and social definitions of man and woman, masculine and feminine; their poems offer valuable warnings about the pitfalls involved in generalizing women into woman. (shrink)

La tradition manuscrite de la lyrique occitane nous a transmis quatre recueils, tous réalisés en Vénétie à la fin du xiiie siècle, qui sont décorés de miniatures évoquant chaque troubadour en tête des poèmes qui lui sont attribués. Parmi eux se sont glissées quelques femmes trobairitz. Huit d’entre elles sont ainsi représentées en train de chanter, mais dénuées de tout caractère individuel. À défaut de pouvoir révéler qui ont été ces poétesses-musiciennes dont l’identité souvent incertaine laisse planer un doute quant (...) à leur existence réelle, ces images témoignent d’abord de la célébrité dont elles bénéficiaient plusieurs décennies après leur disparition dans les milieux lettrés italiens. Images stéréotypées, rehaussées par l’éclat des fonds d’or et le chatoiement des couleurs, elles relèvent avant tout d’une fiction destinée à mettre en évidence la « noblesse », tant morale que sociale, des personnages. De telles représentations ne pouvaient mieux répondre à l’idéal même de la fin’amor, l’amour courtois : en elles se cristallise une vision idéale de la dame inaccessible et parfaite, la domna, chantée par les troubadours. (shrink)

During the oppressive reign of Louis XIV, Gabrielle Suchon (1632–1703) was the most forceful female voice in France, advocating women’s freedom and self-determination, access to knowledge, and assertion of authority. This volume collects Suchon’s writing from two works—Treatise on Ethics and Politics (1693) and On the Celibate Life Freely Chosen; or, Life without Commitments (1700)—and demonstrates her to be an original philosophical and moral thinker and writer. Suchon argues that both women and men have inherently similar intellectual, corporeal, and spiritual (...) capacities, which entitle them equally to essentially human prerogatives, and she displays her breadth of knowledge as she harnesses evidence from biblical, classical, patristic, and contemporary secular sources to bolster her claim. Forgotten over the centuries, these writings have been gaining increasing attention from feminist historians, students of philosophy, and scholars of seventeenth-century French literature and culture. This translation, from Domna C. Stanton and Rebecca M. Wilkin, marks the first time these works will appear in English. (shrink)

The marble head inv. no. 882 in the Archaeological Museum of Thessaloniki came from the north terrace of the forum ofthe ancient city, where in 1924 and 1973 a sumptuous building of Imperial times was excavated, believed to have been a library (building B). It yielded a large number of important sculptures, including the famous statue of Athena Julia Domna, as well as others which were cultic. The technical characteristics indicate that head 882 must have belonged to a colossal (...) acrolithic statue of the tebennophoros/toga wearing type. The person depicted is identified with the emperor Titus, since the typological characteristics of the head, particularly the curly locks of the hair, point to well known portraits of this emperor. This Greek work presents certain peculiarities in the rendering of the cheeks and eyes that suggest to us a comparison with the head of the statue of Titus from Olympia, which is attributed to an Attic workshop. The interpretation of building Β as a library may be doubted in view of a series of observations about its architectural type. Furthermore its connection with a triple apse building that was excavated in contact with it and belonged to the same building programme suggests that we have to do with buildings of a cultic character arranged in order on a separate terrace, as was the case in the forum at Philippi. It is probable that at least some of the sculptures excavated with the head of Titus had been erected in these buildings. The colossal acrolithic statue of the emperor from which the head came may plausibly have been erected in a temple dedicated to the cuit of the Flavian emperors, which was perhaps founded on the occasion of the deification of Vespasian by his son Titus (79 AD). (shrink)

We had thought that poetry was a grace beyond biology, except for the biomovements of dancers, athletes, or those we love most. We had thought it a contradictory “organic” perfection in the relatively staying realm of the symbolical. But, no, according to Kristeva’s theory, poetry is essentially antiformal—in fact, so profoundly antiaesthetic that the proper words for describing it are not beauty, inspiration, form, instinctive rightness, inevitability, or delicacy . Instead, it attracts terms drawn from politics and war: corruption, infiltration, (...) disruption, shatterings, negation, supplantation, and murder. Poetry is the chora’s guerrilla war against culture.According to Kristeva, poetry reverses the ritualistic theological sacrifice of the soma, a sacrifice subsequently exacted, like a sales tax, through the “thetic” element of discourse, its determinate articulations. For Kristeva, the “theologization of the thetic” is what culture is —and as such it has no fundamental right to be, since what is fundamental is the chora and not God. I refer here as throughout to the revolutionary Kristeva of the late sixties and early seventies, the Kristeva whose “we,” as she says in “My Memory’s Hyperbole,” was a putatively communist Parisian party for “permanent revolution.”4 Revolution in Poetic Language is a monumental, late end product of this phase of Kristeva’s thinking; indeed, there are signs that she had already surpassed it by the time the book was published. 4. See Kristeva, “My Memory’s Hyperbole,” trans. Athena Viscusi, in The Female Autograph: Theory and Practice of Autobiography from the Tenth to the Twentieth Century, ed. Domna C. Stanton , pp. 219-35. Calvin Bedient is professor of English at the University of California, Los Angeles. His most recent book is He Do the Police in Different Voices , a study of The Waste Land. (shrink)

Nous présentons 21 monnaies du Péloponnèse appartenant à la collection de la Fondation du monde hellénique (FHW), qui fut achetée en novembre 2007 au collectionneur allemand K. E. Reinhard Donat. Dans cette collection sont représentés les ateliers suivants : Corinthe, un statère et deux pièces en bronze du ive‑iiie s. av. J.‑C. ; Sicyone, un triobole et deux pièces en bronze datant respectivement du ive s., du iie s. et du ier s. av. J.‑C. ; Aegira, une pièce en bronze (...) de Plautilla ; Boura, une pièce en bronze inédite de Septime Sévère ; Patras, une pièce en bronze d’Auguste ; Élis, une pièce en bronze, vers 146‑43 av. J.‑C. ; Thouria, deux pièces en bronze de Caracalla ; Kyparissia, une pièce en bronze de Géta ; Pylos, trois pièces en bronze de Septime Sévère, de Géta (inédite) et de Plautilla ; Gytheion, trois pièces en bronze de Julia Domna (inédite), de Géta (inédite) et de Plautilla ; Argos, une pièce en bronze, ive‑iiie s. av. J.‑C. ; Mantinée, une pièce en bronze de Caracalla. (shrink)