Aspects of Homophobia in Italian High Schools: Students' Attitudes and Perceptions of School Climate

This study investigated Italian high school students' negative attitudes toward gay men and lesbians and their exposure to aspects of homophobia in their schools. Female students viewed gay men and lesbians in similar ways. Male students, on the other hand, held more negative attitudes toward gay men than toward lesbians. Participants reported widespread experiences of homophobic behaviors in their schools, especially verbal abuse. Students' perceptions of a homophobic school climate and respondent sex predicted homophobic attitudes among participants. Homophobic school climate mediated the relationship between respondent sex (male) and homophobia against gay men.     

Why Trompe l'oeils Deceive Our Visual Experience

Philosophers suggested that usual picture perception requires the simultaneous occurrence of the perception of the surface and of the depicted object. However, there are special cases of picture perception, such as trompe l'oeil perception, in which, unlike in usual picture perception, the object looks like a real, present object we can interact with, of the kind we are usually acquainted with in face-to-face perception. While philosophers suggested that usual picture perception and trompe l'oeil perception must differ with respect to the perception of the surface, nobody has ever proposed a final explanatory account for such a difference. Here, I propose such an account. I consider the two possible options as candidates for the explanation of the illusory power of trompe l'oeil perception. The first is that, with trompe l'oeils, we perceive the surface unconsciously. The second is that, with trompe l'oeils, we cannot perceive the surface at all, that is, we cannot perceive it either consciously or unconsciously. I show that the second option is the unique plausible option, as it is in line with vision science, and with our received view about the nature of usual picture perception.     

Do Extrinsic Dispositions Need Extrinsic Causal Bases?

In this paper, I distinguish two often‐conflated theses—the thesis that all dispositions are intrinsic properties and the thesis that the causal bases of all dispositions are intrinsic properties—and argue that the falsity of the former does not entail the falsity of the latter. In particular, I argue that extrinsic dispositions are a counterexample to first thesis but not necessarily to the second thesis, because an extrinsic disposition does not need to include any extrinsic property in its causal basis. I conclude by drawing some general lessons about the nature of dispositions and their relation to their causal bases.     

Do Trompe l'oeils Look Right When Viewed from the Wrong Place?

Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: (1) Depicted objects are not perceived as present and (2) We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate (1): the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate (2): they lead to appreciate spatial shifts resulting from movement. However, anamorphic paintings do not violate (1): they are still perceived as clearly pictorial, that is, nonpresent. What about the relation between trompe l'oeil paintings and (2)? Do trompe l'oeils allow us to perceive spatial shifts? Nobody has ever focused on this aspect of trompe l'oeil perception. I offer the first speculation about this question. I suggest that, if we follow our most recent theories in philosophy and vision science about the mechanisms of picture perception, then, the only plausible answer, in line with phenomenological intuitions, is that, differently from nonillusory, usual picture perception, and similarly to ordinary perception, trompe l'oeil perception does allow us to perceive spatial shifts resulting from movement. I also discuss the philosophical implications of this claim.     

Communication patterns during marital conflict: A cross-cultural replication

This study examines the reliability and validity of the Communication Patterns Questionnaire (CPQ) from Christensen and Sullaway (1984). The CPQ is a relatively new questionnaire aimed at assessing marital communication at the dyadic level. It addresses communication patterns involving the behavior of both members of the dyad rather than just one partner. The CPQ permits the evaluation of communication in close relationships on three scales: (a) mutual constructive communication; (b) mutual avoidance of communication; (c) demand/withdrawal. Previous research among American samples has yielded empirical evidence concerning the reliability and validity of this instrument. The current study focuses upon whether the CPQ may also be applied to European subjects. To address this question, a German and a Swiss sample were used. Our results demonstrate that the questionnaire's reliability and validity also prove satisfactory among European samples. In both studies, communication avoidance and withdrawal were negatively correlated with relationship satisfaction.     

Artists' vulnerability to psychopathology: Towards an integrative cognitive perspective

A relationship is commonly reported between high levels of artistic creativity and mental health problems (e.g., depression or psychosis), and it is now becoming clearer that the divergent cognitive style associated with creativity has commonalities with some of the processes involved in the development and maintenance of some psychological difficulties. Our aim was to investigate the nature of this cognitive style. More specifically, we considered the profile of probabilistic reasoning and associated problem solving abilities, as both of these mechanisms have been found to be integral to major forms of clinical dysfunction. We assessed levels of creative potential, mood, probabilistic reasoning, and problem solving abilities in 66 arts and 85 science undergraduate volunteers. As predicted, art students showed higher levels of creative potential and experienced lower levels of mood than their science peers. Differences in probabilistic reasoning were observed which are in keeping with the pattern reported to be present in those suffering with psychosis in that they tended to ‘jump to conclusions’. Art students also displayed both poorer problem solving abilities and self‐appraisal of their problem solving skills. Our results extend previous findings associated with the mediating role of cognitive processes in the relationship between creativity and some forms of psychopathology. Implications for the prevention and treatment of psychological difficulties in the creative are highlighted.