Sex differences in attributions and learned helplessness

This investigation assessed the hypothesis that girls are more likely to be learned helpless in math than boys. Students in grades 5 through 11 completed questionnaires assessing their causal attributions for success and failure in mathematics, their self-concepts of math ability, and their expectations for both current and future success in math. Results indicated that sex differences in attributions depended on the type of methodology used (open-ended or rank-ordered questions). The most consistent difference involved the differential use and ranking of ability, skills, and consistent effort. No sex differences were found in either students' perceptions of their own math ability or in their current achievement expectations. Girls, however, rated their future expectations slightly lower than did boys. Taken together, these results provide little support for the hypothesis that girls are generally more learned helpless in mathematics than are boys.     

Akratic Believing?

Davidson's account of weakness of will dependsupon a parallel that he draws between practicaland theoretical reasoning. I argue that theparallel generates a misleading picture oftheoretical reasoning. Once the misleadingpicture is corrected, I conclude that theattempt to model akratic belief on Davidson'saccount of akratic action cannot work. Thearguments that deny the possibility of akraticbelief also undermine, more generally, variousattempts to assimilate theoretical to practicalreasoning.     

The Political Is Personal: Narrating 9/11 and Psychological Well-Being

ABSTRACT Making meaning out of negative experiences is one of the primary psychological challenges in the wake of adversity. Much of the empirical attention that psychologists have paid to meaning making has focused on personal hardships, but national tragedies similarly pose a challenge to meaning making. In the present study, which is grounded in the theoretical tradition of the narrative study of lives, a nationally representative sample of 395 adults wrote accounts about the 9/11 terrorist attacks approximately 2 months after 9/11. Accounts were coded for 3 narrative themes: closure, redemption, and contamination. Psychological well-being was significantly related to accounts that were high in closure and national redemption and, among those more directly exposed to the attacks, accounts high in redemptive imagery. Psychological distress was significantly related to accounts that were low in closure and high in themes of personal contamination. Understanding the narrative styles that characterize personal accounts of political events has important ramifications for the study of the socially embedded individual.     

The practical absolute: Fichte’s hidden poetics

The following paper argues that J.G. Fichte, despite his apparent philosophical neglect of art and aesthetics, does develop a strong, original, and coherent account of art, which not only allows the theorization of modern, non-representative art forms, but indeed anticipates Nietzsche and Heidegger in conceiving of truth in terms of art rather than scientific rationality. While the basis of Fichte’s philosophy of art is presented in the essay “On Spirit and Letter in Philosophy,” it is not developed systematically either in this text or anywhere else in his writings, but must be reconstructed through a broad consideration of all his works, including, above all, his political and economic writings. For Fichte, the art-work does not exist as an object possessing “aesthetic value” and which can, in turn, be possessed, consumed, and enjoyed through the subjective act of aesthetic experience. Rather, it involves a mode of praxis which, grounded in a radical and original power of imagination, creatively discloses possibilities for future forms of existence, experience, and political community that cannot be theoretically anticipated. While Fichte cannot himself theorize specific forms of art, since the art that concerns him belongs to the future, we can, however, retrospectively try to understand non-representational painting and non-mimetic dance as concrete realizations of Fichte’s art-work of the future. In this way, Fichte’s philosophy of art ultimately suggests an alternative to Heidegger’s understanding of the work of art as a projective institution of truth. Fichte suggests that the human body, rather than human language, is the fundamental medium of art.