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1. Analogy: A comparison between two things for the purpose of explanation or clarification, often based on their similarities. 2. Tragedy: A dramatic or literary work that deals with serious, often sorrowful themes, usually involving a protagonist’s downfall or death. 3. Allegory: A symbolic narrative in which characters or events represent abstract ideas or moral qualities, often used to convey a deeper meaning. 4. Thesis Statement: A sentence or group of sentences that summarize the main point or argument of an essay or research paper. 5. Genre: A category or type of art, literature, or music characterized by a particular style, form, or content. 6. Motif: A recurring element or theme in a work of art, literature, or music, often contributing to its central idea or meaning. 7. Editorial: A newspaper or magazine article that expresses an opinion or viewpoint on a current issue or topic. 8. Periodical: A publication that is issued regularly (e.g., weekly, monthly), such as a magazine, journal, or newspaper. 9. Non-fiction: Writing that presents factual information, such as biographies, essays, or historical accounts. 10. Fiction: Literature that involves imaginary events, people, or stories, such as novels or short stories. 11. Novella: A short novel, typically between 20,000 and 40,000 words, often focusing on a single theme or character. 12. Hypothesis: A proposed explanation or educated guess about a phenomenon, usually based on limited evidence, that can be tested. 13. Colloquialism: Informal language or expressions used in everyday conversation, often specific to a region or group. 14. Parody: A humorous or exaggerated imitation of a serious piece of literature, music, or art, intended to mock or satirize it. 15. Vignette: A brief, descriptive scene or snapshot of a moment or character, often focusing on a single incident or theme. 16. Anecdote: A short, personal story or account of an event, often used to illustrate a point or entertain. 17. Satire: The use of humor, irony, or ridicule to expose and criticize societal flaws, individuals, or institutions. 18. Euphemism: A mild or less direct word or phrase used to replace one that may be considered harsh, blunt, or offensive. 19. Archetype: A typical or recurrent example of a certain person, thing, or situation, often representing universal themes or symbols. 20. Conflict: The struggle or opposition between two or more forces, characters, or ideas in a narrative, driving the plot forward
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1. Latent Learning: Learning that occurs without obvious reinforcement and only becomes apparent when there is an incentive to demonstrate it. 2. Insight Learning: A sudden realization or “aha” moment in problem-solving, often involving the reorganization of information rather than trial-and-error learning. 3. Modeling: Learning by observing and imitating the behavior of others. 4. Vicarious Conditioning: Learning that occurs by observing others being rewarded or punished, influencing the observer’s behavior. 5. Social Learning Theory: A theory proposing that learning occurs through observation, imitation, and modeling, incorporating cognitive processes in addition to environmental influences. 6. Partial Reinforcement: A reinforcement schedule in which a behavior is not rewarded every time it occurs, making it more resistant to extinction. 7. Continuous Reinforcement: A reinforcement schedule in which every instance of a behavior is reinforced, leading to rapid acquisition but less resistance to extinction. 8. Learned Helplessness: A condition in which exposure to uncontrollable aversive events leads to a failure to act or escape, even when opportunities to do so are available. 9. Instinctive Drift: The tendency for an animal’s innate responses to interfere with conditioned behaviors. 10. Shaping: Gradually reinforcing successive approximations of a target behavior until the desired behavior is achieved. 11. Primary Reinforcer: A stimulus that is naturally reinforcing because it satisfies a biological need (e.g., food, water). 12. Law of Effect: Thorndike’s principle stating that behaviors followed by satisfying consequences are more likely to be repeated, while those followed by unpleasant consequences are less likely to occur. 13. Punishment: A consequence that decreases the likelihood of a behavior occurring again. 14. Reinforcement: A consequence that increases the likelihood of a behavior occurring again. 15. Operant Conditioning: Learning in which the consequences of a behavior determine the likelihood of its recurrence. 16. Habituation: A decrease in response to a stimulus after repeated exposure, demonstrating a basic form of learning. 17. Preparedness (Biological): The predisposition of certain species to learn associations that have survival value more easily than others. 18. Taste Aversion (Conditioned): A learned avoidance of a particular taste or food after it has been associated with illness or discomfort. 19. Counterconditioning: A technique where an undesirable response is replaced with a desirable one by associating the stimulus with a new response. 20. Higher-Order Conditioning: A process in which a conditioned stimulus becomes associated with a new neutral stimulus, creating a second conditioned stimulus. 21. Generalization: The tendency for stimuli similar to the conditioned stimulus to elicit the conditioned response. 22. Discrimination (Classical Conditioning): The ability to differentiate between similar stimuli and respond only to the conditioned stimulus. 23. Spontaneous Recovery: The reappearance of a conditioned response after extinction and a rest period. 24. Extinction: The weakening and eventual disappearance of a conditioned response when the conditioned stimulus is repeatedly presented without the unconditioned stimulus. 25. Conditioned Stimulus (CS): A previously neutral stimulus that, after being paired with the unconditioned stimulus, elicits a conditioned response. 26. Conditioned Response (CR): The learned response to the conditioned stimulus. 27. Unconditioned Stimulus (US): A stimulus that naturally triggers a response without prior conditioning. 28. Unconditioned Response (UR): The natural, reflexive response to the unconditioned stimulus. 29. Acquisition: The initial stage of learning during which the association between the conditioned stimulus and unconditioned stimulus is established. 30. Classical Conditioning: A learning process in which a neutral stimulus becomes associated with an unconditioned stimulus, resulting in a conditioned response.
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XX. Physical and Cognitive Changes 1. early adulthood: (18-30) a. reach physical peak: strongest, healthiest, and quickest reflexes b. physical decline is slow and gradual (usually unnoticed until late 20s) 1. possible explanations a. cells lose ability to repair themselves b. cells have preset biological clocks (limit ability to divide and multiply) 2. middle age (30-65) a. changes in appearance: grey and thinning hair, wrinkles b. sight difficulties (seeing in the distance) 3. old age (66+) a. muscles and fat begin to break down; lose weight and become shorter b. gradual or sudden loss of hearing c. reaction time slows Health Problems 1. some changes are natural others develop from disease, or lifestyle a. sensible eating, exercising, avoiding tobacco, drugs and alcohol will look and feel younger b. cancer, heart disease, and cirrhosis of the liver (encouraged by lifestyle) Marriage and Divorce 1. 90% of population will marry; 40-60% of new marriages end in divorce a. marriage success: how couples resolve conflicts & how often they share intimate and happy moments 1. arguments are constructive 2. arranged marriages are surprisingly successful Menopause and Sexual Behavior 1. menopause: the biological event in which a woman’s production of hormones is sharply reduced (usually between age of 45 & 50) a. woman stops ovulating and menstruating: conceiving children is no longer possible b. irritability and depression can develop (psychological origin) c. many women enjoy this stage (more confident, calmer, and freer) 2. sexual activity doesn’t decline with age Cognitive Changes 1. mid 20s: learning new skills and information, solving problems, and shifting problem solving strategies improves dramatically 2. 40s: peak of creativity and productivity 3. 50s-60s: peak in humanities (history, foreign languages, and literature) a person’s character and personality remain stable through the years A. Daniel Levinson’s Theory of Male Development (structures and transitions) 1. Early Adult Transition: 17-22 2. Entering the Adult World: 22-28 a. desire to explore the options of the adult world conflict with need to establish a stable life Age 30 transition: 28-33 a. reexamining life structure: occupation, marriage partner, life goals 4. Settling down: 33-40 a. “making it” & “becoming one’s own man” 5. Midlife transition: 40-45 a. “midlife crisis” Entering middle adulthood: 45-50 a. stability if transition was satisfactory 7. Midlife transition: 50-55 a. generativity: the desire, in middle age, to use one’s accumulated wisdom to guide future generations b. stagnation: a discontinuation of development and a desire to recapture the past Culmination of middle adulthood: 55-60 9. Late adult transition: 60-65 10. Late adulthood: 65-70 Female Development 1. women often face the same challenges as males a. 58% of adult women work outside the home 2. women generally don’t have a midlife crisis a. some women see period as a challenge after starting a family first 3. last child leaving home a. usually only traumatic if paired with an unstable marriage 4. depression is common among middle-aged women a. loss of role as mother, daughter, and wife Changes that Come with Aging 1. decremental model of aging: idea that progressive physical and mental decline are inevitable with age a. view is unrealistic b. ageism: prejudice or discrimination against the elderly Misconceptions a. the elderly rarely suffer from poor health, rarely live in poverty, and are rarely victims of crime b. the elderly rarely withdraw from life c. the elderly are rarely inflexible or senile Changes in Health 1. good health in adulthood carries over into old age 2. 80% of elderly have at least one chronic disease a. heart disease, stroke, cancer, diabetes, and arthritis 3. 65-74 year olds: 80% believe health is good 4. 75+: 72% believe health is good 5. quality of care is inferior to that of the general population a. 4% of elderly population live in nursing homes Changes in Life Situation 1. transitions in late adulthood a. 41% of women and 13% of men 65+ are widowed b. 60% of women and 22% of men 75+ are without a spouse 2. more elderly are spending time learning and developing new skills C. Changes in Sexual Activity 1. the best predictor of future behavior is past behavior Adjusting to Old Age 1. a negative self-concept results from: a. changes in health, recognition in the community, rare visits from family and friends, respect of privacy, leisure and work activities b. loss of physical control 2. assertive personalities cope better 3. AARP: speak out about social issues that affect the elderly there is much less decline in intelligence and memory than assumed 2. crystalized intelligence: the ability to use accumulated knowledge and learning in appropriate situations (increases with age) 3. fluid intelligence: the ability to solve abstract relational problems and to generate new hypotheses (decreases as nervous system declines) Dementia: decreases in mental abilities, which can be experienced by some people in old age 1. memory loss, forgetfulness, disorientation of time and place, decline in ability to think, impaired attention, altered personality 2. is not a normal part of normal development Alzheimer’s Disease: a condition that destroys a person’s ability to think, remember, relate to others, and care for herself or himself 1. 4.5 million have disease in U.S. 2. 6th leading cause of death among U.S. adults 3. most often leads to a weakened state that leads to fatal problems 4. causes are not completely understood and there is currently no cure Approaching Death 1. death is a culturally and emotionally confusing and complex process A. Stages of Dying 1. thanatology: the study of dying and death Elisabeth Kubler-Ross: studied how the terminally ill react to their impending death a. denial: “no it can’t be happening to me” 1. often leads to individuals avoiding treatment b. anger: “Why me?” 1. often alienate themselves from others c. bargaining: changing of attitudes combined with bargaining d. depression: begin contemplating the losses that are coming e. acceptance: often experience a sense of calm Making Adjustments 1. Camille Wortman theorized that Kubler-Ross’s stages were just the five most common styles of dealing with death 2. how should we deal with the impending death of others a. provide opportunities for the dying to have respect, dignity and self-confidence b. open communication about dying process and legal and financial issues c. avoid judgments concerning grieving of others the contemporary population is mostly insulated from death 2. life expectancy is much longer today and most people no longer die at home A. Hospice Care 1. hospice: a facility designed to care for the special needs of the dying a. goal is to create the most home-like environment where pain management can be provided b. home-based hospice care is now more frequently used than inpatient Dealing with Grief 1. John Bowlby: grief-based attachment research a. shock and numbness 1. can last several hours or weeks b. yearning and searching 1. grievers often isolate themselves 2. guilt and anger can manifest in this stage 3. may last for several months John Bowbly: disorientation and disorganization 1. depression can manifest 2. new reality becomes very confusing d. reorganization and resolution 1. griever overcomes feeling of isolation Pavlov’s Dogs 1. classical conditioning: a learning procedure in which associations are made between a neutral stimulus and an unconditioned stimulus a. attaching an old prompt or stimulus to a new prompt or stimulus 2. neutral stimulus (N): a stimulus that does not initially elicit any part of an unconditioned response a. sound of tuning fork (Pavlov’s experiment) 3. unconditioned stimulus (US): an event that elicits a certain predictable response typically without previous training a. food (Pavlov’s experiment) 4. unconditioned response (UR): an organism’s automatic (or natural) reaction to a stimulus a. salivation (Pavlov’s experiment) 5. conditioned stimulus (CS): a once-neutral event that elicits a given response after a period of training in which it has been paired with an unconditioned stimulus 6. conditioned response (CR): the learned reaction to a conditioned stimulus A. Acquisition 1. gradually occurs every time a N/US is paired with a UR/CR 2. best timing is when the N is presented just before an US (.5 seconds) B. Generalization and Discrimination 1. generalization: responding similarly to a range of similar stimuli a. Pavlov taught dog to respond to a circle; dog would respond to other figures 2. discrimination: the ability to respond differently to similar but distinct stimuli a. Pavlov proved by never pairing the food with the oval Extinction and Spontaneous Recovery 1. extinction: the gradual disappearance of a conditioned response when the conditioned stimulus is repeatedly presented without the unconditioned stimulus a. Pavlov stopped giving food after sound of tuning fork 2. spontaneous recovery: when a CR reappears when a CS occurs without a US John Watson & Rosalie Rayner: the case of Little Albert a. explored the relationship between classical conditioning and emotional responses b. trained 11-month old Albert to fear lab rat c. Rat (NS) + loud sound (US) => fear (UR) Hobart & Mollie Mowrer 1938 study a. developed a bed-wetting alarm to awaken children as they begin to wet bed b. Full bladder (NS) + Alarm (UCS) => Awaken (UCR) Taste Aversions 1. develop after illness follows dining experience a. usually connected to new food even when other food was eaten John Garcia & R.A. Koelling 1. Rats (A) shocked after drinking flavored water paired with flashing lights and clicking sounds a. rats developed an aversion to the lights/sounds 2. Rats (B) injected with drug activated by drinking water (led to upset stomach) a. rats developed an aversion to the taste of the water c. used to condition coyotes to hate the taste of sheep Behaviorism 1. classical conditioning is a great example of behaviorist theory a. behaviorist study behaviors that can be observed and measured; not unobservable mental activity Reinforcement 1. operant conditioning: learning in which a certain action is reinforced or punished, resulting in corresponding increases or decreases in occurrence a. participant must be actively involved 1. classically conditioned organisms are passive participants Positive and Negative Reinforcement 1. B.F. Skinner: trained rats to respond to lights and sounds (Skinner Box) 2. reinforcement: stimulus or event that follows a response and increases the likelihood that the response will be repeated positive reinforcement: adding something desirable after a behavior occurs 1. food (Skinner Box), social approval, money, extra privileges b. negative reinforcement: removal of something undesirable after a behavior occurs 1. changing a smoke alarm battery, buckling seatbelt, use of an umbrella Primary and Secondary Reinforcers 1. primary reinforcer: stimulus that is naturally rewarding, such as food or water 2. secondary reinforcer: stimulus such as money that becomes rewarding through its link with a primary reinforcer a. Wolfe experiment 1936 (Chimpanzees) b. money is best example Schedules of Reinforcement 1. continuous schedule: reinforcing behavior every time it occurs 2. partial schedule: positive reinforcement occurs sporadically a. acquired behaviors are more slowly established but are more persistent 1. discovered when the Skinner Box kept breaking down ratio schedules: reinforcement based on the number of responses 1. fixed-ratio: reinforcement depends on specified quantity of responses a. most consumer loyalty punch cards 2. variable-ratio: reinforcement after varying number of responses a. slot machines, door to door sales, telemarketing 1. very resistant to extinction interval schedules: reinforcement occurs after an amount of time elapses 1. fixed-interval: reinforcement of first response after a fixed amount of time has passed a. salaries, cramming for tests 2. variable-interval: reinforcement of the first response after varying amounts of time a. fishing, pop quizzes 1. very resistant to extinction shaping: technique in which the desired behavior is “molded” by first rewarding any act similar to that behavior and then requiring ever-closer approximations to the desired behavior before giving the reward 1. flag-raising rat a. reinforce rat for approaching flagpole b. reinforce after rat raises paw while near flagpole c. reinforce after rat gets on hind legs while near flagpole d. reinforce after rat nibbles at cord while on hind legs Combining Responses: Chaining 1. response chains: learned reactions that follow one another in sequence, each reaction producing the signal for the next a. complex skill of swimming involves organizing large response chains 1. arm stroke chain, breathing chain, leg kick chain Aversive Control: process of influencing behavior by means of unpleasant stimuli completed through use of negative reinforcers or punishers A. Negative Reinforcement: increasing the strength of a given response by removing or preventing a painful stimulus when the response occurs 1. escape conditioning: training of an organism to remove or terminate an unpleasant stimulus a. parents removing an unpleasant meal when child whines and gags while eating avoidance conditioning: training of an organism to respond so as to prevent the occurrence of an unpleasant stimulus a. parents deciding against presenting an unpleasant circumstance because child whines at the possibility Punishment 1. leads to the removal or reduction of behavior 2. must be unpleasant to work a. some reprimands may actually serve as reinforcers 3. positive punishment: adding unpleasant circumstances 4. negative punishment: removal of pleasant circumstances Disadvantages of Punishment 1. can produce rage, aggression, and fear in children 2. spanking can lead to increased aggression toward other children 3. can lead to children avoiding person who punishes 4. fails to teach appropriate and acceptable behavior Cognitive Learning 1. social learning: process of altering behavior by observing and imitating the behavior of others a. learning goes beyond mechanical responses to stimuli or reinforcement 2. cognitive learning: form of altering behavior that involves mental processes and may result from observation or imitation Latent Learning and Cognitive Maps 1. Wolfgang Kohler: chimpanzee study on insight 2. Edward Tolman: rat study on cognitive maps and latent learning a. cognitive map: a mental picture of spatial relationships or relationships between events b. latent learning: alteration of a behavioral tendency that is not demonstrated by an immediate, observable change in behavior Learned Helplessness: condition in which repeated attempts to control a situation fail, resulting in the belief that the situation is uncontrollable 1. college students/noise study 2. Martin Seligman Theory a. stop trying b. lower self-esteem c. depression ensues Modeling: learning by imitating others; copying behavior mimicry: performing old, established responses that we might not be using at the time. 2. observational learning: learning to perform a behavior after watching others perform it a. Albert Bandura: Bobo doll experiment 3. disinhibition: the increased likelihood a behavior will be repeated when observed behavior is not punished a. often used to alleviate phobias the systematic application of learning principles to change people’s actions or feelings A. Computer-Assisted Instruction 1. S.L. Pressey (1933) & B.F. Skinner (1950s) a. program that uses reinforcement (new information, choices, or point rewards) each time a student shows they learned something new b. program builds on information student has already mastered Token Economics 1. token economy: conditioning in which desirable behavior is reinforced with valueless objects, which can be accumulated and exchanged for valued rewards a. used in schools, prisons, mental hospitals, and halfway houses Self-Control 1. having people set up personal systems of rewards and punishments to shape their own thoughts and actions a. define the problem b. track the behavior c. set up a behavioral contract Improving Your Study Habits 1. progressively increase study quotas (successive approximations) a. remove conditioned aversive stimuli adjust to change or alter in order to fit or conform adapt A changing to fit new conditions menopause the biological event in which a woman's production of sex hormones is sharply reduced generativity the desire, in middle age, to use one's accumulated wisdom to guide future generations stagnation a discontinuation of development and a desire to recapture the past function the ability to achieve his or her goals within him or her self and the external environment. It includes an individual's behavior, emotion, social skills, and overall mental health assumed accepted as real or true without proof decremental model of aging idea that progressive physical and mental decline are inevitable with age ageism prejudice or discrimination against the elderly dementia decreases in mental abilities, which can be experienced by some people in old age Alzheimer's disease a condition that destroys a person's ability to think, remember, relate to others, and care for herself or himself component A part or element of a larger whole. isolating causing one to feel alone thanatology the study of death and dying hospice a facility designed to care for the special needs of the dying classical conditioning a learning procedure in which associations are made between a neutral stimulus and an unconditioned stimulus neural stimulus a stimulus that does not initially elicit any part of an unconditioned response unconditioned stimulus an event that elicits a certain predictable response typically without previous training unconditioned response an organism's automatic (or natural) reaction to a stimulus conditioned stimulus a once-neutral event that elicits a given response after a period of training in which it has been paired with an unconditioned stimulus conditioned response the learned reaction to a conditioned stimulus generalization responding similarly to a range of similar stimuli discrimination the ability to respond differently to similar but distinct stimuli extinction the gradual disappearance of a conditioned response when the conditioned stimulus is repeatedly presented without the unconditioned stimulus operant conditioning learning in which a certain action is reinforced or punished, resulting in corresponding increases or decreases in occurrence reinforcement stimulus or event that follows a response and increases the likelihood that the response will be repeated secondary reinforcer stimulus such as money that becomes rewarding through its link with a primary reinforce primary reinforcer stimulus that is naturally rewarding, such as food or water shaping technique in which the desired behavior is "molded" by first rewarding any act similar to that behavior and then requiring ever-closer approximations to the desired behavior before giving the reward response chain learned reactions that follow one another in sequence, each reaction producing the signal for the next aversive control process of influencing behavior by means of unpleasant stimuli negative reinforcement increasing the strength of a given response by removing or preventing a painful stimulus when the response occurs escape conditioning training of an organism to remove or terminate an unpleasant stimulus avoidance conditioning training of an organism to respond so as to prevent the occurrence of an unpleasant stimulus social learning process of altering behavior by observing and imitating the behavior of others cognitive learning form of altering behavior that involves mental processes and may result from observation or imitation cognitive map a mental picture of spatial relationships or relationships between events latent learning alteration of a behavioral tendency that is not demonstrated by an immediate, observable change in behavior learned helplessness condition in which repeated attempts to control a situation fail, resulting in the belief that the situation is uncontrollable modeling learning by imitating others; copying behavior token economy conditioning in which desirable behavior is reinforced with valueless objects, which can be accumulated and exchanged for valued rewards
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Cours magistral qui prend la forme d’une dissertation La Vérité : 3 domaines possibles pour poser des questions (3 types de sujets possibles au bac) I/ LA MORALE : FAUT-IL TOUJOURS DIRE LA VÉRITÉ ? La vérité est la qualité d’une proposition conforme à la réalité. Le contraire de la vérité est l'erreur mais cette erreur, lorsqu’elle est intentionnelle donc dans le but de tromper autrui devient le mensonge qui dans notre monde la morale est considéré comme un vice. Face à ce vice, nos mythes et notre éducation font l’éloge d’une vertu. 1) Le domaine de pertinence de la question Dans la Genèse (1er de l'ancien testament) un dieu qui se présente comme le dieu des hébreux et qui se nomme IHVH convoque MoÏse en haut du Mont SinaÏ. C’est l’épisode très fer du buisson ardent. Dieu énonce 10 lois pour son peuple (les hommes) et l’un de ses commandements interdit expressément le mensonge ou plus exactement le mensonge sous sa forme juridique “tu ne portera pas le faux témoignage”. C’est donc un type de mensonge qui est prohibé : celui qui porte tort à autrui par une accusation mensongère. Mais par la suite, le mensonge dans la civilisation Judéo-chrétienne est devenu synonyme de l’acte pervers et méchant par nature. Le mensonge est doublement fautif : face à celui à qui l’on ment et qu’on veut tromper et face à Dieu, qui a créé le monde : le menteur remplace le monde par un autre (forcément diabolique). On comprend donc que c’est dans ce contexte moral et religieux que notre question fait sens. D'autres cultures éminentes ne se la sont jamais posée. Par exemple, celle de la Grèce Antique. Les Grecques sont fascinés par l’intelligence ( ils ont plus de 20 mots pour la désigner) la forme la plus noble se dit “Logas” ou “Nous” ou “Dianoia” == la raison. Mais il y a une autre forme d'intelligence très valorisée qui se nomme “Métis” == ruse ou expédient. Les Grecques admirent les animaux capables de ruses (renard, poulpe) et les grands humains qui ont triomphé par la ruse sont l’objet d’une densification de leur part. Dans l’épopée, chaque personnage incarne une ou plusieurs vertus. Le Héro suprême est Ulysse or il est super menteur, il ment à tout le monde (homme, femme et dieu) et est toujours vainqueur. Il trompe même les morts. C’est dans ce climat favorable au mensonge qu’une école comme celle des Sophistes a pu se développer. Les sophistes s’occupent de la paideia de l'éducation; ils le font de manière scandaleuse puisqu’ils font payer la sagesse et très cher. Certains Sophistes sont très célèbres (Protagoras et Gorgias) leur point commun : Ils vivent dans un monde où il n’y a pas de vérité et où ce qui compte c’est le discours. Le langage est plus fort que la force. Logos dans le langage : est un grand tirant qui rend grand ce qui est petit et petit ce qui est grand. Le maître du monde c’est le maître des autres et le maître des autres c’est celui qui parle le mieux. Pour les Sophistes, parler c’est soumettre. Celui qui gagne, c’est celui qui produit l’assentiment qu’il dise que ce soit vrai ou faux. Pour cela, il y a une méthode (chemin) qui est la rhétorique. Parménide dit << l’être est, le non-être n’est pas >> G: le non-être n’est pas = le non-être est non-être = le non-être est quelque chose (existe) = Le non être est -> L'être n’est pas Pour les Sophistes, ce qui compte c’est la victoire, pour l’obtenir tous les moyens sont bons (mensonge, fourberie…) Ainsi, la question de savoir s' il faut toujours dire la vérité est une question qui n’est pas intemporelle, elle prend sens dans un contexte monothéiste c’est-à-dire, sous le contrôle d’une transcendance : ce qui possède le double caractère d’être supérieur et extérieur. Seul un dieu transcendant peut exiger des hommes de ne pas mentir et il est capable d’établir la distinction entre discours et intention. C’est dans ce contexte que notre question doit se poser: voyons s’il nous est possible de la résoudre. 2) Le dilemme La morale est l’origine de la question “faut-il ?” Autrement dit, elle est l’origine du contexte 2 voix. Dire la vérité est-il un devoir ? Dès qu’on pose cette question, on voit s’affronter 2 thèses inconciliables qui dans l’histoire de la philosophie sont portées par deux auteurs “Kant” “Constant”. Pour Kant, le devoir prend forme d’un impératif C'est-à-dire quelque chose de désagréable. Les langues germaniques ont une souplesse que n’ont pas les langues Latines; c'est-à-dire qu’elle exprime l’impératif de manière plus subtile que nous le faisons en Allemand et en Anglais. L’allemand “Müssen”, l’Aglais “Must” expriment des ordres,ils me contraignent, je n'ai pas le choix. Au contraire, “Sollen” et “Shall”impliquent l’idée d’un choix c’est à dire, d’une obligation que j’accepte librement d’effectuer. contrainte = force intérieure par laquelle j’accepte librement d’être lié et je peux aisément me soustraire. Lorsque Kant parle de devoir moral, c’est toujours en termes d’obligations qu’il réfléchit et pas en termes de contrainte, pour lui, le problème de la véracité est un problème moral. A quoi reconnaît-on qu’une action est morale ? Selon Kant il y a deux critères. Le premier est celui du désintéressement. un acte moral est un acte gratuit. -Le premier, Kant doute qu’il puisse exister des actions désintéressées mais en tous cas, l’acte de mentir ne peut jamais être désintéressé. -le deuxième, il faut qu’une action soit universalisable (commun à tous, universel). Pour qu’une action soit morale, il faut que tout homme en tout lieu et en tout temps puisse la faire (sans détruire le genre humain ou la nature). Le mensonge n’est pas universalisable Kant ne peut pas imaginer une société de menteurs. Conséquence : il n'y a pas de mensonge moral Face à cette position il y a le bon sens et celui de Benjamin Constant qui répond à Kant qu’il y a une morale plus haute que la morale et c'est la morale qu’il appelle par humanité; au nom de cette dernière il faut parfois mentir. Ex: J’abrite chez moi quelqu’un qui se cache de la police et dont je sais qu’il est innocent; je sais aussi qu'on le mettra à mort si on le trouve. C’est un devoir de mentir à la police. Constant oppose un principe à Kant: “il faut toujours dire la vérité… à celui qui ne s’en servira pas pour nuire”. Le problème est qu’on ne peut pas connaître les intentions de quelqu'un. Ainsi nous sommes dans un débat stérile et nous ne pouvons pas décider de qui à raison. Cela peut vouloir dire deux choses: soit la question relève de la métaphysique et elle n’est pas décidable. Soit deuxième alternative, cette question a du sens mais elle est mal posée donc il faut la reformuler pour la résoudre 3) De la morale à l'éthique (reflection sur les valeurs qui orientent et motivent nos actions) Le verbe falloir qui a donné “faut-il” appartient à un registre de la mort. C'est la connaissance de ce qui est juste et injuste et plus généralement du bien et du mal. Pour ceux qui y croient sont des absolus = sans aucune relation à quoi que ce soit(dont le contraire est relatif). dire que le mal est absolu c’est dire qu’une action de cette nature est toujours mauvaise, qu’importent les auteurs et les circonstances. Il est facile de comprendre que ces notions qui viennent de la religion sont fragiles; on va le voir avec Spinoza, mais pour introduire sa pensée, on peut se souvenir d’une planche géniale de Reiser dans “la vie des Bêtes”. Quatres dessins lui suffisent: -dessin numéro un homme subit la question -deuxième dessin, on le laisse pour mort dans le désert -troisième dessin, une moine arrive sur son cheval très touché par la scène -Quatrième dessin, il donne à boire au pauvre homme et le tue. Ses intentions sont moralement bonnes et ses actions aussi. Il fait le pire; que pouvons-nous en conclure ? Que le bien et le mal sont des inventions et des simplification et que ce qui existe c'est le bon et le mauvais. plus exactement pour reprendre les mots de Spinoza dans l'éthique le bien et le mal sont des fictions d’imagination qui nous font prendre nos désirs pour la réalité. Par exemple, l'Homme rêverait d’être maître de sa vie et de ses désirs et ce rêve porte le nom de libre arbitre. Les Homme se croient libres parce qu'ils connaissent leur désirs mais qu’ils en ignorent les causes. Bien et mal sont comme le libre arbitre, ou encore comme le beau et le laid, ce sont des mots qui ne veulent rien dire. En va -t -il de même du bon et du mauvais ? pas du tout; est bon ce qui augmente ma puissance d’agir et d'exister directement, ce qui me fait penser à une perfection plus grande; est mauvais, ce qui diminue ma puissance d’agir et d’exister et me fait penser à une perfection moindre. Avant toute chose, il faut s’entendre sur cette notion de perfection. Pour nous, la perfection désigne un optimum. Mais ce n’est pas du tout le sens de ce mot, en Latin, <<perfectum>> signifie fini, achevé ou encore refermé. Or, chez Spinoza toute chose est toujours aussi parfaite qu’elle peut être. Autrement dit, lorsqu’on regarde une chose a un moment donné elle est complète au sens d'achèver. Par exemple, la vue ne manque pas plus à un aveugle qu’à la pierre. La pierre ne peut pas voir,ce n’est pas dans sa nature; la vue ne lui manque donc pas. L’aveugle ne peut pas voir non plus, ce n’est pas dans sa nature (c’est à dire dans ses possibilités) si on le plaint ou s' il se plaint, c’est toujours par comparaison avec sa vie d'avant ou avec les autres qui eux voient. Comparer est toujours une erreur car il n’existe que des individus singuliers. Nous pouvons changer de perfection à divers moments de notre existence selon que nous sommes affectés de joie ou de tristesse. C’est dans ce contexte que Spinoza va penser le problème de la véracité, c'est-à- dire de la parole. Il y a deux grandes façons de vivre une vie d'Homme, la plus commune c’est la vie conduite par l’imagination. la plus rare mais beaucoup plus joyeuse et beaucoup plus souhaitable c’est la vie sous la conduite de la raison. Imaginer c’est vivre au milieu d’images; les images sont des imitations de la réalité, elles ne me donnent aucunes informations sur la nature de ce qui est. Prenons l’image corporelle du soleil; je le vois et il me touche. Le soleil ressemble a un disque de taille, de couleur, de luminosité variable plus ou moins chaud et de distance indéterminable. Quand j'ai dis ca je n’ai rien dit sur le soleil en revanche, je suis prompt à croire toutes les sornettes qu’on me racontera. L’Homme d’imagination est crédule, ignorant, facile à contrôler, aisément superstitieux; il vit dans le monde du faux. Le mensonge est pour lui une ressource parce qu’il n’a pas confiance en les autres ni d'ailleurs en lui-même. Sa vie se situe donc dans une zone de tristesse dans laquelle il trompe et s’attend à être trompé. Il en va tout autrement de l’Homme qui vit sous la conduite de la raison, C'est-à- dire qui cherche les causes des choses. Cet homme-là sait que la meilleure chose pour lui c’est la concorde avec les autres Hommes. Son souci c’est donc de ne pas avoir d’ennemis; pour éviter les ennemis mieux vaut éviter le mensonge et la ruse.L’homme de raison ne ment pas. “l’Homme qui vit sous la conduite de la raison n’agit jamais en trompeur mais toujours de bonne foi” et pourquoi ? Parce que plus ma raison est développée et moins grande est la part de la peur est plus grande que moi. Or c’est toujours sous l'effet de la peur qu’il y a le mensonge. Si on ôte il n’y a plus aucune raison de mentir or le sage, n’a peur de rien puisqu’il a enlevé de vie la mère de toutes les peurs qui est la peur de la mort. C’est exactement ce que faisait Socrate qui lui non plus ne craint pas la mort et n’a eu le cesse de la prouver, le principe qui commande la vie de Socrate, c'est le concept de Parrêsia qu’on ne peut pas traduire. Il faut une périphrase pour traduire ce mot quelque chose comme le courage, le courage de dire la vérité; ce courage implique: 1 de dire ce qu'on pense 2 de penser ce qu’on dit 3 de dire ce qu’on fait 4 de faire ce qu’on dit On pourrait penser que chez Socrate ce ne sont que des mots, des belles paroles, mais sa vie prouve qu’il a toujours appliqué ce principe de véracité, sa vie et sa mort. En effet dans le livre apologie de socrate, on voit Socrate devant ses juges qui l’accusent à tort de corrompre la jeunesse et de manquer de pieter. Socrate, dès le début du procès, explique à ses juges qu’il ne se défendra pas et qu’il ne s'excusera pas, parce qu'il n’a rien à échanger et n’a pas peur de mourir. Sa destinée n’est pas à vendre même au prix de sa vie et le procès devient celui des juges par Socrate. Il sera condamné à mort et refusera de se soustraire à la sentence. Socrate pensait qu’il fallait obéir aux lois fusent elles iniques (injuste) (contraire inique = équitable : proportionnel dans nos récompenses et dans nos châtiments) Conclusion: Ainsi, il ne faut pas toujours dire la vérité parce que la véracité n’est pas affaire de morale ou de devoirs. Dire la vérité est un acte éthique et non moral. Cet acte engage l'intégrité, l'intelligence et la dignité du sujet. Celui qui dit la vérité, qui la dit toujours le fait parce qu’il n’a peur de rien, de personnes qu'il a la plus haute estime de lui-même. II/L’ART A-T-IL AFFAIRE À LA VÉRITÉ ? Une oeuvre d'art est une production humaine inutile à visée esthétique Le mot esthétique dérive du grec aisthesis qui signifie indifféremment sensation et sentiment. Ce que vise donc l'œuvre d’art c’est de produire un sentiment de plaisir ou de déplaisir ou même un plaisir déplaisant. Ce qui culturellement produit le plaisir esthétique c’est le beau. Ce qui produit le déplaisir c’est l'expérience de laideur. L'œuvre d’art a donc un rapport direct avec le beau et laid mais certainement pas avec le vrai et le faux. On ne voit pas du tout de prime abord quel rapport pourrait avoir l’art avec la vérité; Mais peut être négligeons nous qu’il n’y a pas une forme de vérité mais deux. La première, nomme la de son nom latin Veritas: Elle désigne la conformité entre ce qui est dit et la réalité. De ce point de vue l’oeuvre d’art qui déforme la réalité n’a rien de vrai mais dans la langue grecque la vérité se dit et se pense tout autrement; on l'écrit Aletheia qui veut dire absence d’oubli, c’est à dire souvenir ou mémoire; la mémoire chez les grecques était une déesse Mnémosyne qui est la mère des 9 Muses qui sont inspiratrissent des artistes. Cela veut dire que dans l'œuvre d’art, il y a quelque chose qui relève d’une forme de vérité mémoire; l'œuvre nous rappelle quelque chose que nous avons oublié. Pour cela elle fait œuvre de révélation, elle est un apocalypse. C’est cette piste que nous devrons explorer, celle de la vérité comme Aléthéia pour établir dans quelle mesure l’art a affaire à la vérité 1) L’artiste, ce faussaire l’art peut imiter la nature, il peut aussi imiter l’art, mais dans tous les cas, ce qui définit l’art semble être l’imitation. Dans une imitation, il y a l’original et il y a la copie: la copie est toujours un faux, et celui qui produit la copie est un faussaire. Cette thèse de l’artiste faussaire, on la trouve développée dans toute l'œuvre de Platon et surtout dans La République. Au Xème livre, on vient de construire la cité idéale et dans cette cité, il n’y a pas de place pour les artistes: pas de poètes, pas de peintre et on peut garder quelques musiciens mais à des conditions très précises. Pour comprendre la violence de ce geste, il faut passer par le livre VII de La République et par le texte le plus célèbre de l’histoire de la philosophie “Allégorie de la caverne”. Socrate dans ce texte, cherche à nous faire comprendre quelle est notre position. Imaginons une caverne très profonde: si profonde que les rayons du soleil à l’entrée n’éclairent pas le fond de la caverne. Au fond, tourné vers la paroie, il y a des Hommes enchaîné; ils ont toujours vécu là. Assis sur un siège sur lequel ils sont ligotés, forcés de regarder devant eux. Que voient-ils ? pas du tout la pénombre. ils assistent à un spectacle: en effet, derrière eux, il y a un grand feu, devant ce feu un muret et sur ce muret on fait jouer des marionnettes, spectacle son et lumière. L’ombre des marionnettes est projetée sur la paroie du fond. La lumière est une fausse lumière; les marionnettes sont des imitations. Les prisonniers ne voient que des images des marionnettes, même pas que des copies mais des copies de copies. L’interlocuteur de Socrate s’écrit “quel triste sort ils ont ces pauvres prisonniers” et Socrate lui répond “c’est nous” Ce que le texte ne dit pas, c’est qui sont les marionnettistes. L'œuvre de Platon ne laisse aucun doute pourtant ici, il y a deux coupables possibles: d’abord le sophiste mais il y a aussi l’artiste. Quand Platon parle de l’artiste, il a un ennemi en tête Aède et spécialement Homère (si il a existé; 8ème siècle av. J.C). Ce que reproche Platon à Homère, ce sont deux choses essentielles. La première, c’est de vendre du rêve et de l'héroïsme pour des choses qui n’ont jamais été grandes. La deuxième, C’est qu'Homère donne une image misérable est scandaleuse des Hommes et des dieux. Regarde les Hommes: les obsédés sexuels Pâris mais aussi Achille ou encore Agamemnon, des imbéciles; souvenons nous d'Ulysse le super menteur . Quant aux dieux, ils complotent, multiplient les coups bas, se moquent de la mort de leur protégés: tout sauf des dieux. L’artiste n’est donc pas seulement un faussaire, c’est un menteur qu’il faut empêcher de nuire. Ce jugement sur l’art, lorsque l’Europe sera devenue Platonicienne, C’est-à-dire catholique, ce jugement sera répété très souvent. Ex: la haine des idéologues chrétiens pour le théâtre. En effet, au théâtre, on rit des puissants, des faux dévots , de tout le monde et aussi des mari cocus. Et même sans aller jusque là, l'artiste dans nos sociétés est suspect, et son travail est souvent considéré comme inutile. Qu’on se souvienne par exemple du jugement sans appel que Pascal fait de la peinture “quelle vanité que la peinture qui attire l'admiration par la ressemblance des choses dont on admire point les origines” quant à Spinoza il ne consacre dans toute son œuvre que trois lignes à l’art. “La musique, pour le mélancolique, est bonne. Pour l'affliger en revanche elle est mauvaise. Pour le sourd enfin elle n'est ni bonne ni mauvaise”. Le corollaire de ce texte, c’est l’idée chez Spinoza que la beauté n’est pas une qualité subjective. La beauté n’est pas dans les choses mais dans les jugements que nous portons sur elle. Ainsi, Platon semble avoir ouvert la voie à une forme de détestation par le philosophe de l’art et de l’artiste. Pourtant, lorsqu'on y regarde de plus près, on constate que pour Platon il peut exister une utilité de l’art s' il est mis au service de la vérité. Le grand éducateur de la Grèce, c’est Homère le menteur. Le projet de Platon est de remplacer Homère (et y est parvenu). Il va donc comme ce dernier proposer une nouvelle poésie fondée sur des allégories, des métaphores et des mythes; un très grand nombre de mythes qui sont encore les notre sont en faite de Platon: Le mythe de Prométhés est de Platon ainsi que l'Atlantide ou encore celui de l’âme-soeur et l’anneau qui rend invincible (gygèse=gollum). Cette nouvelle mythologie a installé notre monde, et prouve que Platon est bien plus qu’un vulgaire contempteur (quelqu’un qui méprise) de l’art. Et d'ailleurs, Socrate lui-même a une position très ambiguë sur la musique qui est le plus puissant des arts. La musique est un art magique capable de provoquer la trance. Le problème est que cette transe peut être dangereuse, si la musique est violente, stridente et si elle nous appelle à l'excès, à la démesure. Il y a des textes surprenants où Socrate évoque certains instruments à corde ou certaines flûtes qui produisent des sons nous faisant aller vers la mauvaise trance; celle que réclame Dieu Dionysos. Face À Dionysos, il y a Apollon; une musique qui élève l’âme et qui la calme. La lire mais mieux encore les simples voix, les chants à capella si possible plusieurs voix masculines graves (chant grégorien). Dans le Phédon où on assiste à la mort de Socrate après qu’il a bu la Ciguë, il tient un discours à ses disciples et leur parle des oiseaux magnifiques que sont les cygnes. Il prétend lui aussi jouer sa dernière musique, son chef d'œuvre à lui pour rendre hommage à Apollon. On voit donc lorsque l’on sort des images d’épinal, on s'aperçoit que la position de Platon sur l'art est en fait très nuancée. L'art peut être un chemin vers la vérité au moins à titre Propédeutique (entraînement à l’éducation). Pour Platon, l’art peut être une préparation mentale à la philosophie. La voie est donc ouverte par Platon à une autre lecture de l'art cette fois du point de vue de la vérité: à quelle vérité l’art nous donne-t-il accès ? Ainsi l’artiste, hormis quelques privilégiés, fait l’objet d’une condamnation d’une part de Platon qui les place à l'extérieur du système de la vérité. On peut Pourtant se de demander s' ils n’existe pas une autre forme de vérité à laquelle ont peut accéder II/L’ART COMME L’APOCALYPSE Le spectacle de l’art ne produira pas en moi des connaissances positives de contenu d’ordre théorique : pas d'équation, pas de de théorème de vérité philosophique non plus dans une œuvre d’art à l'exception peut être de certains Romans écrits par des philosophes, pourtant l’oeuvre d'art m'apprend quelque chose de tout aussi profond mais très différent. Dans Mulholland Drive, on voit par deux fois un personnage énigmatique à l'arrière cours d’un dîner sordide, ce personnage est à la frontière entre l’animal et l’homme dégradé. Dans la dernière scène, il tient dans sa main une mystérieuse boîte qui s’ouvre avec une clef bleu objet essentiel du film. Cet homme a l'arrière cours d’un dîner est donc clairement un symbole de plusieurs choses comme toujours. Premier symbole: il est le vrai Hollywood, le vrai Los Angeles Le deuxième symbole qu’il incarne est celui de la lisière entre l’homme et l’animal, entre la santé mentale et la folie. Pour Lynch la frontière n'est pas du tout claire, tous ces personnages ont un pied dans la folie et ils font chanceler nos certitudes. Il y donc dans l'art une vérité de type symbolique et il n'est pas inutile de rappeler ce qu’est un symbole. En grecque symbolon désigne un objet témoin auquel on a donné un sens arbitraire et artificiel. Pour comprendre ce sens il faut posséder le code quelle est la nature de la vérité qui séjourné dans les oeuvre d’art et qui est à la fois évidente et Une oeuvre d’art est donc un ensemble de codes qui fonctionne comme un PALIMPSESTE sous tout oeuvre d’art,il y d’autres oeuvres d’art et un ensemble de codes qu’ils faut décrypter.On peut remarquer que le chemin vers certaines œuvres nous est pour toujours impossible parce que les codes et leurs auteurs on disparu c’est le cas des oeuvres pariétal du PALÉOLITHIQUE SUPÉRIEUR (-40 000/-15 000).Pendant plus de 20 000 ans ,des hommes ont orné des cavernes ,d’une manière très semblable et sur un espace de +10 000 kilomètres. Dans les motifs peint,on retrouve des constantes = Pas de représentations humaines De grands animaux avec des couples (bison/cheval ; aurochs/cheval) Mains négatives mais positives : empreinte de mains Que signifie tout cela on n'en sais rien ,et il faut se méfier des interprétations SYNCRÉTIQUES (confusent,mélangés) Il faudra ici faire preuve d’une attitude que LEROI-GOURHAN attitude qu’il préconise dans la RELIGION DANS LA PRÉHISTOIRE.Il conscidaire que les grottes ornées sont des sanctuaires dans sortes de lieux de pèlerinage.La nature des cultes qu’y si tené nous est inconnu on peut néanmoins exclure le TOTEM DE CHASSE (les hommes ne représentent pas leur butins ,chasse il mange pas ça)Les hommes ne chassent pas les grosses bêtes (nourriture usuelle) devant ces grottes nous sommes comme des extraterrestres qui entrerait dans une église après l’extinction du genre humain ils en déduiront qu’il y a une la une religion sadomasochiste et en effet il est beaucoup plus facile de peindre la souffrance que l'amour .Donc nous devons renoncer à comprendre ces vieilles peintures même si quelques pistes peuvent être décelé. Plus on a de culture plus on peut comprendre une oeuvre et sortir du stérile j’aime/je n’aime pas ,mais on peut aller plus loins dans l’interprétation et atteindre le fameux sens essentiel ou intrinsèque.Il s,agit d’un sens profond de l’oeuvre qui échappe à son propre auteur ou qui le dépasse une oeuvre d’art n'appartient à celui qui l’a faite et elle exprime parfois des choses qu’il ne sait pas lui même. On peut prendre comme exemple de signification intrinsèque la théorie FREUDIENNE DE LA SUBLIMATION pour Freud une oeuvre d'art est le résultat d’une sublimation,ce mot il l’empreinte au vocabulaire de la chimie processus passe d’un état solide à gazeux sans passer par la phase liquide.En chimie c’est un processus du purification.Il en va de même dit Freud dans la psyché humaine qui est capable elle aussi de sublimer un contenu ce contenu c’est ce que Freud appel la pulsion .Une pulsion est un contenu psychique inconscient naturel, mais lors de l’éducation,elle est interdite dans certaines de ces manifestations. Elle va être refoulé. Le lieu du refoulement des pulsions c’est ce que Freud appelle l’inconscient dont il donne le nom le ÇA. Pour comprendre ce sens il faut posséder le code qu'elle est la nature de la vérité qui séjourne dans les œuvres d’art et qui est à la fois évidente et cachée comme dans la lettre volée. Pour répondre à cette question on peut consulter ce que nous dit Panofsky dans son livre Meaning in visual arts. Ce dernier, considère que tout oeuvres d’art est porteuse de trois degrés de signification qu’il nomme - sens primaire nou naturel Sens secondaire ou culturel Sens essentiel ou intrinsèque Le premier c’est ce qui se dévoile à nos simples sens. par exemple devant une peinture c’est ce que mes yeux voient. Devant une œuvre picturale, mes yeux voient des formes, des couleurs, des mouvements. Bien sûr, on ne s'arrête jamais à ce niveau et on cherche à interpréter l'œuvre comme contenu culturel en fonction d’un contexte et d'une symbolique cela évite les contre sens sur l'œuvre. Ex: dans un tableau tres celebre de l’ecole de Fontainebleau date du seixieme siecle intitule Gabrielle d’Estrées et sa cousine, on voit une tres belle jeune femme tournee vers nous se faisant peincer le seins par l’autre femme. Ici, l’histoire des symboles est essentielle: la poitrine féminine est devenue un objet sexuel qu'à la fin du 18e siècle. Avant il était lié à la maternité. Le sein pincé servira bientôt autrement dit elle est enceinte. L’enfant né avec des pulsions qui sont l’expression de sa nature la plus profonde, elles sont instinctuelles (de nature instinctive) et donc universelles. Ces pulsions s’orientent autour de deux grands pôles que Freud nomme Eros et Thanatos. Eros est l’ensemble des pulsions de vie: joie, plaisir, domination, liberté mais au sens de la licence (le laisser aller, prendre plaisir à n’importe quoi). Ça, ce sont les pulsions au sens érotique et pui il y a Thanatos qui sont les pulsions de mort, de destruction, l’attirance vers le néant, pour les autres et pour soi même. Ces deux polarités se complètent, elles ne sont pas opposées l’une à l’autre. Elles peuvent donc toutes les deux coloré les mêmes pulsions.Lors de l’éducation de l’enfant, certaines pulsions vont être d’abord prohibée (interdire) et dans un deuxième temps inhibées (intériorisées et devenues impossibles dans sa manifestation. Ce processus, conforme à ce que veut dire le mot éduquer, conduit l’enfant hors d’eux) il prend la forme d’une loi qui dans nos sociétés est annoncée par le père, le père énonce le grand “non!” aux pulsions de l’enfant et son rôle consiste à séparer : d’abord l’enfant de ses désirs, ensuite l’enfant de sa mère c'est-à- dire qu’il s’oppose à la fusion. Devant l’interdit, l’enfant éprouve le désir de transgression qu’il va opérer soit réellement soit symboliquement. Lorsqu’il sera découvert dans son désir il éprouvera d'abord de la honte, c'est-à- dire un sentiment social qui suppose un tier “la vraie honte est honte devant le père. Mais cette honte va s'intérioriser et devenir culpabilité c’est à dire que le tier est maintenant à l’intérieur toujours vigilant, toujours menaçant -Freud” par ce processus viennent de se former deux instances psychiques que toutes deux inconscient la première c’est le “ça” (système des pulsions refoulées) et la deuxième est le “surmoi” Ça n’obéit que par le principe de plaisir Eros et Thanatos il est amoral. Il ignore l'existence du bien et du mal comme d'ailleurs celle du beau et du vrai. Il vit dans un éternel présent, ce qui veut dire que pour lui il n’y a pas de passé et d’avenir. Pour le ça dit freud ce qu’il s’est passé se passe toujours immer->wieder Toujours->déjà Face à ce Ça, le Surmoi joue le rôle de censure. Il empêche les pulsions du Ça de devenir consciente, il les punit lorsqu'elles l’ont fait et il le fait au moyen de la culpabilité. Le surmoi bloque donc le mécanisme des pulsions ou plutôt leur manifestation. Au milieu de ce conflit il y a ce que Freud appelle le Moi c’est-à-dire la minuscule partie de mon être qui est consciente d'elle-même et qui cherche à satisfaire les exigences contradictoires de deux maîtres le Ça et le Surmoi.
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Language Allows Us To Communicate A Tremendous Amount Of Information, In- Cluding Such Theoretical And Complex Concepts As “Threat,” “Retaliation,” And “Hijack.” In The First Section Of This Chapter You’Ll Learn That The Human Brain Is So Finely Adapted To Learn Language That Babies Pick It Up Effortlessly, And That Parts Of The Brain Are Specialized To Understand Or Produce Language. The Marvel Of How Our Minds Readily Categorize And Process Information Is Covered In Section 10.2. You’Ll Learn About The Concept Of Attention, Which Is Vital To Information Processing. We Will Discuss How Attention Is A Limited Resource, So Directing It To One Activity Can Make Us Blind To Other Events. In The Final Section We’Ll Consider The Process Of How We Make Judgments And Use Them To Make Decisions. We’Ll See That We Are Not Very Good At Making Certain Kinds Of Decisions And Are Sus- Ceptible To Several Kinds Of Bias In Our Judgments. 10.1 Language One Of The Most Amazing Things About Human Speech Is Something Most People Take For Granted: Virtually Every Baby Learns A Language With No Formal Teaching Whatsoever. Just By Being Around People Who Talk, Babies Learn The Language (Or Languages) Spoken Around Them. If You’Ve Ever Tried To Learn A New Language As An Adult, You Will Appreciate How Remarkable It Is That Babies Master Not Only Words But Syntax Within A Relatively Short Period Of Time. In This Section We’Ll Review Evidence That The Human Brain Is Especially Good At Acquiring Languages Before We Reach The Age Of 12 Or So, But Not Thereafter (Maddeningly, The Precise Age When Many School Systems Begin Teaching A Second Language!). We’Ll Consider The Special Skill Of Reading And The Fascinating Question Of Why Some Children Who Are Clearly Very Intelligent Nevertheless Have A Hard Time Learning To Read. We’Ll Conclude This Section By Discussing Evidence Indicating That The Language We Learn, And The Culture We Learn It In, Has An Impact On The Way We Think. What Are The Components Of Human Language? There Are An Estimated 7,000 Languages In The World Today, About 1,000 Of Which Have Been Studied By Linguists (Wuethrich, 2000), Scientists Who Study Language. Their Analyses Reveal That All These Languages Share Similar Basic Characteristics. For Example, All Spoken Languages Are Composed Of A Set Of Sounds And Symbols That Have Distinct Meanings. Those Sounds And Symbols Are Arranged According To Rules That Are Characteristic Of The Particular Lan- Guage. Each Language Has Basic Speech Sounds, Or Phonemes. English Con- Sists Of About 50 Different Phonemes (Exactly How Many Depends On The Dialect Of English), Which Include Both Vowels And Consonants. Some Languages Have Over 100 Phonemes, Others Have As Few As 11 (Crystal, 2010), But Because There Are Estimated To Be Over 800 Phonemes Used In One Language Or Another (Gibbs, 2002), It Is Rare For Any Two Languages To Use The Exact Same Subset Of Phonemes. If You’Ve Tried To Learn Another Language, Such As French Or Chinese, You’Ve Faced The Challenge Of Making A Sound That You Had Never Tried To Make Before, As You Try To Reproduce A New Phoneme. In Each Language, Phonemes Are Assembled Into Simple Units Of Meaning Called Morphemes, And These Morphemes Are Assembled Into Words. The Word Unfathomable, For Example, Consists Of The Morphemes Un, Fathom, And Able ••Components Of Language ••Evolutionary Beginnings Of Language ••Teaching Language To Animals ••Human Language Acquisition ••Language Function Is In The Left Cortex ••Language Influences On Thinking Linguists Scientists Who Study Language. Phonemes The Basic Speech Sounds That Make Up Languages. Morphemes The Basic Units Of Meaning In A Language. They Are Composed Of Phonemes. Semantics The Study Of The Meanings Of Words. Syntax The Rules For Constructing Phrases And Sentences In A Language. Generative Term Used To Describe The Capacity Of A Language To Produce An Infinite Number Of Sentences. Surface Structure The Particular String Of Words That Are Put Together In A Sentence. Deep Structure The Particular Meaning Beneath The Surface Structure Of A Sentence. (Figure 10.1). Words Have Meaning, And The Study Of Those Meanings Is The Field Of Semantics. Words, In Turn, Are As- Sembled Into Meaningful Strings, Which May Be Complete Sentences Or Just Phrases. For Each Language, There Are Rules For Constructing Phrases And Sentences, And Those Rules Are The Language’S Syntax. You Might Think Of The Rules For Constructing Sentences And Phrases As Grammar, But Grammar Typically Refers To A Set Of Rules About How You Ought To Structure Your Sentences. Syntax Is Con- Cerned With How Native Speakers Actually Assemble Sen- Tences To Communicate With One Another. Anyone Who Knows The Phonemes (Sounds) And Syntax (Rules) Of A Par- Ticular Language Can Speak Sentences That Convey Infor- Mation To Others Who Have Similar Knowledge Of The Lan- Guage. A Speaker Who Also Knows The Symbols Used To Depict The Phonemes, In Our Case The Alphabet, Can Write Sentences That Convey Information. One Powerful Characteristic Of All Languages Is That Their Words Can Be Rearranged To Produce Many Different Sen- Tences, With Vastly Different Meanings. The Number Of English Words Is Estimated At 1 Million And Growing (Michel Et Al., 2011), But Probably No One Could Define Them All Without Consulting A Dictionary (Figure 10.2). The Average American High School Graduate Is Thought To Know 50,000 To 60,000 Words (Pinker, 1994). Knowing That Many Words Means That, In Practical Terms, There Are An Infinite Number Of Different Sentences A Speaker Might Construct. Because Language Has This Vast Capacity To Produce So Many Differ- Ent Sentences, It Is Said To Be Generative (While Not Used Often, This English Word Means “Capable Of Producing Lots Of Offspring”). I Love Listening To Young Children Speak, Be- Cause In Their Beginning Efforts They Often Put Words To- Gether In A Way That Sounds Utterly Fresh. “The Ladybugs Are Having A Race On The Window!” I Doubt I’D Ever Heard Anyone Say That Before. This Ability Of Even Beginning Speakers To Produce New Sentences Illustrates Both The Generative Capacity Of Language And The Fact That A Speak- Er Is Trying To Represent A Particular Meaning, Even If He Or She Doesn’T Yet Have The Vocabulary Or The Proper Syntax To Express It Very Clearly. The Meaning, Or Semantic Content, Of Language Brings Up A Distinction About How We Use Language. The Famous Linguist Noam Chomsky (1957) Proposed That Every Sen- Tence Has Two Layers Of Representation. The Surface Structure Is The Particular String Of Words That Are Put To- Gether In A Sentence. The Deep Structure Is The Particular Meaning (Semantic Relations) Beneath The Surface Struc- Ture. If Two Girls Are Skipping Rope On The Sidewalk, There Are Many Different Sentences We Could Put Together To De- Scribe That. Each Sentence Would Have A Distinct Surface Structure, But They Would All Share The Same Deep Struc- Ture—The Underlying Meaning. Linguists Have Noted This Distinction Between Surface Structure And Deep Structure To Suggest That All Human Languages May Share A Common Figure 10.1 Breedlove Intro Psych 1e 06/30/14 Language And Cognition 399 Phonemes Make Morphemes That Make Words Words Are Strung Together According To The Rules Of A Language, The Syntax, To Communicate Meaning To Others. (Note: Linguists Use A Very Specific Notation To Identify Phonemes, Which We Are Not Using Here.) 1m 800 600 400 200 0 1900 Fig. 10.01, #1001 1920 1940 1960 1980 2000 Year Figure 10.2 Number Of English Words Note The Rapid Ad- Dragonfly Media Group Dition Of Words Since 1950. The Figures For The Dictionaries For 2001 Are For The Number Of Entries, But Many Entries Include Variations Of Words (For Example, The Entry “Blend” Covers “Blending,” “Blends,” And “Blender”). (After Michel Et Al., 2011.) Unfathomable Morpheme Fathom (“Understand”) Morpheme Able (“Capable Of”) Morpheme Un (“Not”) Two Phonemes: “U,” “N” Five Phonemes: “F,” “A,” “Th,” “O,” “M” Four Phonemes: “A,” “B,” “U,” “L” Number Of Entries In: Oxford English Dictionary Webster’S Third New In Ternational Dictionary Number Of Words In English (Thousands) 400 Chapter 10 Born To Talk Noam Chomsky Believes The Human Brain Has Evolved To Acquire Language. Deep Structure. That Issue Is Well Beyond Our Scope, But The Distinction Between Surface Structure And Deep Structure Also Emphasizes How Human Language Is Filled With Meaning. When We Speak, We Are Symbolically Representing How The World Is, Was, Or Should Be. I’Ve Emphasized The Generative Capacity Of Language And The Semantic Con- Tent Of Language Because These Issues Will Arise When We Ask Whether Other Ani- Mals Can Also Use Language, As We’Ll Do Next. Animal Communication Reveals The Evolutionary Roots Of Language Do Animals Use Language? You Might Think That Is A Straightforward Question, But In Fact There Is No Easy Answer. For Example, Scholars Have Suggested That Speech And Language Originally Developed From Gestures Of The Face And Hands (Corballis, 2002; Hewes, 1973). Even Today, Hand Movements Facilitate Speech: People Who Are Prevented From Gesturing Make More Slips And Have More Pauses In Their Speech (Krauss, 1998). Furthermore, People Who Have Been Blind From Birth, And So Have Never Seen The Hand Gestures Of Others, Make Hand Gestures While They Speak (Iverson & Goldin-Meadow, 1998). Deaf Children Raised Without Access To An Established Sign Language May Invent One Of Their Own, Complete With Structural Features That Characterize Other Spoken And Sign Languages (Goldin-Meadow, 2006). These Observations Suggest That Gestures Represent At Least The Beginnings Of Language. Lots Of Other Species Use Gestures To Communicate: Many Birds Display Elaborate Courtship Behaviors To Attract A Mate, Chimpanzees Shake Their Arms To Signal Threat, And Dogs And Wolves Freeze And Stare To Alert Other Members Of The Pack (Or The Dog’S Owner) To The Location Of A Potential Prey. The Gestures That Other Species Use To Com- Municate May Well Reflect The Earliest Beginnings Of Human Language. Plenty Of Non-Human Animals Vocalize As Well As Gesture—Producing Chirps, Barks, Meows, And Songs, Among Other Sounds. Whales Sing And May Imitate Songs That They Hear From Distant Oceans (Noad Et Al., 2000), And Some Seal Mothers Recognize Their Pups’ Vocalizations Even After 4 Years Of Separation (Insley, 2000). In Fact, Many Species—From Elephants To Bats To Birds To Dol- Phins—Are Capable Of Vocal Learning And Use Their Vocalizations To Help Form Social Bonds And Identify One Another (Poole Et Al., 2005; Tyack, 2003). Rats And Mice Produce Complex Ultrasonic Vocalizations, Which We Cannot Hear, That May Communicate Emotional Information (Panksepp, 2005). Although No One Would Suggest That It Is An Evolutionary Precursor To Hu- Man Speech, Birdsong Offers Intriguing Analogies To Human Language (Marler, 1970). Many Birds, Such As Chickens And Doves, Produce Only Simple Calls With Limited Communicative Functions, But Songbirds Like Canaries, Zebra Finch- Es, And Sparrows Produce Complex Vocalizations That Are Crucial For Social Behaviors And Reproductive Success. In These Songbirds, Only Males Of The Species Sing, And The Song Is Learned—In Much The Same Way That Humans Learn Language (Devoogd, 1994; See Figure 8.26). Another Striking Similarity Between Birdsong And Human Language Involves The Different Contributions Of The Left And Right Cerebral Hemispheres. We’Ll See Later In This Chapter That In Humans The Left Hemisphere Plays A Crucial Role In Language—Left-Hemisphere Damage Is Far More Likely To Disrupt Language Than Right-Hemisphere Dam- Age—And The Same Is True In Some Songbirds: Only Left-Hemisphere Lesions Of The Brain Impair Singing (Nottebohm, 1980). One Might Dismiss The Fact That Birds Control Song With Their Left Hemisphere While We Control Language With Our Left Hemisphere As Mere Coincidence. But Is It? Take Into Consideration That If The Hemisphere That Evolved To Control An Activ- Ity (Such As Language) Were Determined By Chance, There Would Be A 50% Chance That It Would Be The Same In Two Species. On The Other Hand, Several Observations Provide Evidence That The Left Hemisphere May Play A Special Role In Ape Communication, Just As It Does In People (Meguerditchian & Vauclair, 2006; Taglialatela Et Al., 2006). Several Brain Regions Related To Language Are Larger In The Left Hemisphere Than In The Right In Humans, And Those Same Regions Are Also Larger In The Left Hemisphere In Apes. Furthermore, Apes Tend To Favor Gesturing With The Right Hand, Which Is Controlled By The Left Side Of The Brain. Was The Left Hemisphere Specialized To Control Communication In The Common Ancestor Of Other Apes And Humans, Or Even In The Common Ancestor Of Birds And Humans? Genetic Studies Support The Idea That Brain Systems Controlling Language Evolved From Communication Systems Like Those Found In Other Animals. Analysis Of A British Family With A Rare Heritable Language Disorder Led To The Identification Of A Gene That Appears To Be Important For Human Language. Children With A Specific Mutation Of This Gene, Foxp2, Take A Long Time To Learn To Speak (Lai Et Al., 2001), And They Display Long-Lasting Difficulties With Some Specific Language Tasks, Such As Learning Verb Tenses (Nudel & Newbury, 2013). The Pattern Of Brain Activation In These Individuals During Performance Of A Language Task Is Dif- Ferent From That Seen In Typical Speakers—They Show Underactivation Of Broca’S Area (Figure 10.3), A Brain Region Important In Language, Which We Will Discuss Later (LiéGeois Et Al., 2003). The Foxp2 Gene In The Other Great Apes Is Different From That Of Humans (Enard Et Al., 2002), Suggesting That This Gene Has Been Evolving Rapidly In Humans, Presumably Because Language Is So Adaptive In Our Species That, Once Begun, It Became Ever More Elaborate In A Short Time (In Evo- Lutionary Terms, Within The Past 1 Million Years). Yet The Basic Function Of Foxp2 May Have Always Been To Support Communi- Cation, Because This Same Gene Is Also Important For Communication In Other Species. The Ultrasonic Vocalizations In Rats And Mice That We Mentioned Earlier Are Disrupted By Mutations In The Foxp2 Gene (French & Fisher, 2014; Shu Et Al., 2005). What’S More, When Researchers Selectively Silenced Foxp2 Expression In The Songbird Brain, Adolescent Males Failed To Properly Learn Their Song (Haesler Et Al., 2007). Because This Same Gene Normally Contributes To Brain Communica- Tion Systems In Both Humans And Other Animals, It Seems Likely That Human Lan- Guage Evolved From A Preexisting Brain System That Was Already Involved In Com- Munication. In That Case, These Animal Communication Systems Really Do Represent The Evolutionary Beginnings Of Human Language. In Natural Settings, Monkeys Combine Certain Vocalizations Into More Com- Plex Calls, Suggesting The Rudiments Of Both Syntax And Semantic Meaning (Ar- Nold & ZuberbüHler, 2006; Ouattara Et Al., 2009), But Nothing Like That Seen In Every Human Language. Even If We Regard These Monkey Vocalizations As Mor- Phemes—Combinations Of Sounds That Convey Particular Meanings, Like “Hawk” Unaffected Group Affected Group Rlrl Broca’S Area Figure 10.3 An Inherited Language Disorder Family Members Of The British Fam- Ily Affected By The Foxp2 Gene Show Underactivation Of Broca’S Area When Carrying Out A Language Task. Instead, The Affected Individuals Seem To Activate A Scattering Of Brain Regions, Mostly In The Right Hemisphere. (After Fisher & Marcus, 2005.) Acquiring Song Male Zebra Finches Learn Their Song From Their Father. Language And Cognition 401 402 Chapter 10 Communication Between Species Service Dogs Learn To Communicate With Their Human Comrades. Versus “Snake”—There Are Too Few To Be Considered A Full-Blown Language. Nor Is There Evidence That Animal Vocalizations Follow Particular Rules About How To String More Than Two Sounds Together To Convey A Particular Meaning. In Other Words, We’Ve Yet To Discern Genuine Syntax In Any Animal Communication Sys- Tem In The Wild. But If No Other Species In Nature Uses A Full-Blown Language, Do Any Species Have Enough Rudiments Of Brain Communication Systems That They Could Be Taught A Language? Can Other Animals Acquire Language With Training? People Have Long Tried To Communicate With Animals, Sometimes Quite Success- Fully: Anyone Who Has Watched A Service Dog At Work, Responding To Commands From Its Owner, Has To Acknowledge That The Human Is Transmitting Lots Of Infor- Mation To A Highly Intelligent Companion. Instilling Language In A Non-Human Is A Different Matter, However. Every Day, You Utter Sentences That You Have Never Said Before, Yet The Meaning Is Clear To Both You And Your Listener Because You Both Understand The Speech Sounds And Syntax Involved. Animals Generally Are Incapable Of Similar Feats, Instead Requiring Extensive Training With Each Specific Utterance (E.G., Each Voice Command To The Sheepdog) In Order For Communica- Tion To Occur At All. In Other Words, Most Animals Appear To Lack An Understanding Of The Meaning Of Individual Words (Semantics) Or The Rules About Putting Words To- Gether To Convey A Particular Message (Syntax)—Although, In Fairness, We Are Ask- Ing Them To Learn Our Semantics And Syntax When We Know Very Little About Theirs. One Strategy For Teaching Language To An Animal Is To Choose A Species As Much Like Ourselves As Possible, In Other Words, One Of The Other Great Apes. Because The Vocal Tracts Of The Other Apes Are Very Different From Those Of Hu- Mans, Scientists Have Given Up Attempting To Train These Animals To Produce Human Speech. But Can Non-Human Primates Be Taught Other Forms Of Com- Munication That Have Features Similar To Those Of Human Language, Including The Ability To Represent Objects With Symbols And To Manipulate Those Symbols Ac- Cording To Rules Of Order? Our Nearest Primate Relatives, Chimpanzees, Are Capable Of Learning Many Of The Hand Gestures Of American Sign Language (Asl), The Standardized Sign Language Used By Some Deaf People In North America. Chimps Trained In Asl Have Been Reported To Use Signs Spontaneously, And In Novel Sequences (Gard- Ner & Gardner, 1969, 1984). Gorillas Apparently Also Can Learn Hundreds Of Asl Signs (Patterson & Linden, 1981) (Figure 10.4a). An Alternative Language System Involves The Use Of Assorted Colored Chips (Symbols) That Can Be Arranged On A Magnetic Board. After Extensive Training With This System, Chimps Reportedly Organize The Chips In Ways That Seem To Reflect An Acquired Ability To Form Short Sentences And To Note Various Logical Classifications (Premack, 1971). A Third Language System Uses Computerized Keys To Represent Concepts; Again, Apes Show Some Ability To Acquire Words In This Language, Which They Appear To String Together Into Novel, Meaningful Chains (Lyn Et Al., 2011; Rumbaugh, 1977). The Idea That Apes Can Acquire And Use Rudiments Of Language Remains Con- Troversial. According To Many Linguists, Syntax Is The Essence Of Language, So Investigators Look For The Ability Of Chimps To Generate Meaningful And Novel Sequences Of Signs That Follow Syntactical Rules. The Work Of Gardner And Gard- Ner (1969, 1984), Premack (1971), And Others Suggested That Chimps Do Make Distinctive Series Of Signs, Including Categories And Negatives, Just As Though They Were Using Words In A Sentence. However, Other Researchers Argued That These Sequences May Simply Be Subtle Forms Of Imitation (Terrace, 1979), Per- Haps Unconsciously Cued By The Experimenter Who Is Providing The Training. Native Asl Users Dispute The Linguistic Validity Of The Signs Generated By Apes; And Pinker (1994) Insists, “Even Putting Aside Vocabulary, Phonology, Morphol- Ogy, And Syntax, What Impresses One The Most About Chimpanzee Signing Is That (A) (B) Language And Cognition 403 Figure 10.4 Communicating With Animals (A) Koko The Gorilla, Shown Here With Trainer Dr. Penny Patterson, Communicates Using American Sign Language. (B) Chim- Panzees Can Learn To Use Arbitrary Signs And Symbols On A Keyboard To Communicate. Fundamentally, Deep Down, Chimps Just Don’T Get It” (P. 349). Indeed, It’S Hard To Imagine How We Could Even Tell If An Animal Understood Words For Complex Con- Cepts Like Retaliation Or Terrorism. Nevertheless, Considering That Apes Can Comprehend Spoken Words, Produce Novel Combinations Of Words, And Respond Appropriately To Sentences Arranged According To A Syntactic Rule, It Seems Likely That The Linguistic Capacity Of Apes Was Underestimated Historically (Savage-Rumbaugh, 1993). For Example, A Bonobo (Pygmy Chimpanzee) Named Kanzi, The Focus Of A Long-Term Research Program (Savage-Rumbaugh & Lewin, 1994), Reportedly Learned Numerous Symbols And Ways To Assemble Them In Novel Combinations, Entirely Through Observational Learning Rather Than The Usual Intensive Training (Figure 10.4b). Kanzi’S Ability To Produce Novel Strings Of Words Suggests That His Is A Generative Language, Like Human Language. So Although The Debate Is Far From Settled, The Linguistic Accom- Plishments Of Primates Have Forced Investigators To Sharpen Their Criteria Of What Constitutes Language. Another Strategy For Teaching Language To Animals Is To Choose A Species That May Not Be Closely Related To Us But Is Adapted For Flexible, Oral Communication, Namely A Parrot. When Irene Pepperberg Purchased A Year-Old African Gray Par- Rot And Named Him Alex, She Soon Became Intrigued By How Quickly Alex, Like Other Parrots, Would Learn New Phrases. She Devised A New Training System That Exploited The Highly Social Nature Of Parrots, Working With Another Person, Encouraging Alex To Imitate The Humans’ Use Of Language. Alex’S Job Was To Outcompete His Rival (The Other Human) For Treats, And For Pep- Perberg’S Approval And Praise. Eventually Alex Learned About 150 Words. He Could Name The Color, Shape, And Type Of Mate- Rial That Made Up An Object, Even One He’D Never Seen Before. He Could Sort Objects By Shape Or Color (Figure 10.5) And Could Count Small Numbers Of Objects (PéRon Et Al., 2014). Most Important, Alex Could Perform These Feats Even For A Stranger, With Pepperberg Out Of The Room. This Meant That Alex Was Not Like “Clever Hans,” The Horse We Learned About In Section 2.1, Breedlove Intro Psych 1e Who Relied On His Trainer’S (Unconscious) Cues To Stamp His Hoof Fig. 10.04 #0000 “You Be Good, See You Tomorrow” The Af- Rican Gray Parrot Alex (1976–2007) Spoke With His Owner, Dr. Irene Pepperberg, And Appeared To Create New, Meaningful The Correct Number Of Times. Alex Appeared To Produce New Sentences From A Vocabulary Of About 150 English Words. 08/19/13 Figure 10.5 404 Chapter 10 Babble Sentences And Even New Words. Shown A Dried Banana Chip, He Called It A “Banacker,” Which Sounds Suspiciously Like A Blending Of Two Words He Already Knew: “Banana” And “Cracker.” As Pepperberg Put Him In His Cage One Night, Alex Said His Typical Bedtime Phrases To Her: “You Be Good, See You Tomorrow. I Love You.” The Next Morning He Was Dead, Apparently Of Natural Causes, At Age 31. Despite Alex’S Accomplishments, One Researcher Still Denied That Alex Was Using Language. As Quoted In The New York Times Obituary For Alex, David Premack Dismissed The Parrot’S Ability As Unlike Human Language Because “There’S No Evidence Of Recursive Logic, And Without That You Can’T Work With Digital Numbers Or More Complex Human Grammar” (Carey, 2007). Personally, It Seems To Me That Every Time An Animal Manages To Accomplish Some Aspect Of Language That Was Previously Thought To Be Uniquely Human, The Bar For What Constitutes True Language Gets Raised. First We Were Told That Ani- Mals Didn’T Understand The Symbolic Aspect Of Language—That A Particular Set Of Sounds Means “Water.” Then When Animals Learned To Use Keyboards With Arbi- Trary Symbols, Or Asl Gestures To Represent Objects, We Were Told They Could Not Produce New Sentences. Then When Animals Were Demonstrated To Have Gener- Ated New Sentences That Seemed To Make Sense, The Objection Was That They Don’T Understand Syntax—They Don’T Follow Strict Rules About The Order Of Words Used In A Sentence. For Goodness Sakes, Alex’S Ability Was Dismissed Because He Couldn’T Work With “Digital Numbers” Or Do “Recursive Logic” (Can You?)! It’S Hard Not To Suspect That Some Researchers Feel Threatened By The Idea That Hu- Mans Are Not Unique In Our Abilities, Or Are Eager To Downplay The Abilities Of In- Dividuals That Are Just “Animals.” The Question Of Whether Other Animals Can Really Learn Language Is Not Likely To Be Settled Anytime Soon. Although We Have Yet To Experience The Miracle Of Being Able To Carry On A Conversation With Another Species, Learning A Language While Growing Up Is Miraculous In Itself. We Start Life Ready To Decode Any Language We Happen To Hear A Child’S Brain Is An Incredible Linguistic Machine, Rapidly Acquiring The Pho- Nemes, Vocabulary, And Syntax Of The Local Language. Language Is Learned With- Out Any Formal Instruction; The Baby Simply Has To Hear The Language Spoken In Order To Learn It. Of Course, The Baby Is Not At All Passive In This Process. One Of The Reasons Babies Learn Language So Rapidly Is Because They Are Intensely Interested In Hearing Speech And In Watching A Talking Face. We’Ll See Shortly That Even Newborns Are Willing To Work In Order To Hear Someone Talk. As They Avidly Attend To Language And Soak It Up, Children Pass Through Behavioral Milestones Of Language Development (Table 10.1). While The Time Line Of When An Individual Child Reaches A Particular Milestone Varies Considerably, The Sequence Is Almost Always The Same. That Finding Indicates That Each Stage Of Language Acquisition Lays The Groundwork To Tackle The Next Stage. Of Course A Child Does Not Begin Speaking In Fully Formed, Grammatically Cor- Rect Sentences. A Newborn Will Fuss, Cry, And Laugh, But By 6 Months Or So Most Babies Babble, Making Meaningless Sounds That Are Strung Together Such That They Resemble Speech. The First Stages Of Babbling Tend To Be Repetitive—“Ba- Ba-Ba-Ba-Ba-Ba-Ba”—While Later The Babbling Sounds Are More Variable. One Of My Favorite Stages In The Development Of My Own Children Was That Point When They Would Wake Up Alone In Their Crib And Begin Babbling In That Variable Way. I Would Hear All The Inflections And Tones Of Human Speech, But The Words Were Pure Nonsense. I Could Almost Imagine The Child Was Speaking Some Exotic For- Eign Language. As The Child Learns To Articulate Specific Words, She Will Use Telegraphic Speech, Providing Only A Few Words, Or Even A Single Word, To Communicate. The Meaningless Sounds Strung Together To Resemble Speech Made By Infants, Typically Before The Age Of 6 Months. Telegraphic Speech Communication Form In Young Children, In Which A Few Words Are Used To Express An Idea. Language And Cognition 405 Table 10.1 Typical Stages Of Childhood Language Development Age Receptive Language Expressive Language Birth–5 Months Reacts To Loud Sounds Turns Head Toward Sounds Watches Faces That Speak Vocalizes Pleasure And Displeasure (Laugh, Cry, Giggle) Makes Noises When Talked To 6–11 Months Understands “No-No” Tries To Repeat Sounds Babbles (“Ba-Ba-Ba, Da-Da-Da”) Gestures 12–17 Months Attends To Book About 2 Minutes Follows Simple Gestures Tries To Imitate Simple Words Points To Objects, People Says 2–3 Words To Label Object 18–23 Months Enjoys Being Read To Follows Simple Commands Points To Body Parts Understands Simple Verbs Says 8–10 Words (Maybe With Unclear Pronunciation) Asks For Foods By Name Starts Combining Words (“More Milk”) 2–3 Years Understands About 50 Words Understands Pronouns Knows Spatial Concepts (“In,”“Out”) Says About 40 Words Uses Pronouns Such As “You,”“I” Uses 2- To 3-Word Phrases 3–4 Years Understands Colors Understands Groupings Of Objects (Foods, Clothes, Toys, Etc.) Is Mostly Understandable By Strangers Expresses Ideas, Feelings 4–5 Years Understands Complex Questions Understands “Behind,”“Next To” Says About 200–300 Words Uses Some Irregular Verb Past Tenses (“Ran,”“Fell”) Engages In Conversation 5 Years Understands > 2,000 Words Understands Sentences > 8 Words Long Can Follow Series Of Three Directions Understands Time Sequences (What Happened First, Second, Last) Uses Complex And Compound Sentences Sources: American Speech-Language-Hearing Association, N.D.; National Institutes Of Health, 2014; Pro-Ed Inc., 1999. “Need Cookie!” Rather Than “I Want A Cookie” Or, Better Yet, “May I Have A Cookie, Please?” Typically, Adults Will Repeat The Child’S Communication, Filling In The Missing Words, So That By 3 Years Of Age Or So, Most Children Speak In Complete Sentences. What’S More, The Child’S Pronunciation Of Words Is Likely To Be Imper- Fect At First. This Means That In The Early Stages, The Child’S Family And Caregivers, Who Have Learned To Understand The Child, May Be The Only Ones Who Effectively Get The Message. As The Child’S Language Skills Improve, She Will Also Be Under- Stood By Strangers. Another Landmark For Children In Modern Times Is Being Able To Understand Speech, And Produce Comprehensible Speech, Over The Tele- Phone, Without Any Visual Cues To Aid Communication. Psychologists Use Behavior To Test Babies’ Language Ability One Of The First Things Babies Must Learn Is How To Tell Different Phonemes Apart When They Hear Them. This Is A More Difficult Task Than You Might Think, Because Some Of The Sounds That, To Our Adult Ears, Sound Very Distinct Are In Fact Physi- Cally Very Similar. For Example, The Syllables Ba And Pa Are A Lot Alike, And Differ Only In Terms Of How Soon We Vocalize (Make A “Hum” In The Back Of Our Throat) After We Pop Our Lips Apart. Yet 4-Month-Old Children Can Tell Them Apart. How Do We Know? In A Pioneering Study, Peter Eimas And Colleagues (1971) Presented Babies Of Different Ages With Different Sounds. The Babies Were Too Little To Talk, But Habituation Response 406 Chapter 10 Habituate To Stop Attending To A Stimulus Because It Is No Longer Novel. The Researchers Found A Way To Know Whether The Babies Could Distinguish Between, For Example, Ba And Pa. Babies Were Rewarded For Sucking On An Artificial Nipple By Being Presented With Brief Speech Sounds. They Must Have Found This Rewarding, Because They Would Suck More Eagerly When Given That Reward. This Finding Alone Tells Us Something Important About Babies—They Are Eager To Hear Language, As We Noted Earlier. Most Important, If We Present The Same Word Over And Over, The Babies Eventually Grow Tired Of Hearing It. We Say That They Have Habituated To The Sound—They Can Still Hear It, But They Stop Attending To It. In A Variation Of The Habituation Technique We Dis- Cussed In Chapter 5 (See Figure 5.13), This Tendency To Habituate To Sounds Can Be Used To Determine If The Babies Can Tell Ba From Pa. If They’Ve Been Hearing Nothing But “Ba” For A While, They Slow Down Their Sucking As They Habituate. If We Now Present “Pa,” Then The Babies Should Regain Interest And Increase Their Sucking, But Only If They Notice The Difference In The Phoneme. Psychologists Have Exploited This Logic To Determine What Babies Can And Cannot Perceive In Spoken Language, As We’Ll See Next (Figure 10.6). Researchers At Work “Reading Babies’ Minds” Figure 10.6 Babies Will Work To Hear New Speech Sounds (After Eimas Et Al., 1971.)  Question: Can Babies Distinguish Between Similar Phonemes?  Hypothesis: Babies Who Have Habituated To One Phoneme Will Notice The Difference In The Other, Slightly Different Phoneme.  Test: Have Babies Suck On A Pacifier For A Chance To Hear Sounds. If They Are Given The Same Sound Repeatedly, They Will Habituate And Suck Less. If They Are Given A New Sound, They Will Renew Their Sucking If They Can Actually Tell That The Phoneme Is New.  Results: The Babies Increased Sucking When Presented With A New, Different Phoneme. Two Very Similar Phonemes Two Distinct Phonemes Same Phoneme 45 60 45 30 15 New Phoneme Presented 45 45 60 60 45 45 30 30 15 15 New Phoneme Presented Au/Sa: 0 2 4 6 8 10 0 2 4 6 8 10 0 Time (Min) Time (Min) 2 4 6 8 10 Time (Min) We Extended The Graphs A Little Past 10 So The Divide Screens Would Be The Same Width And Visually Pleasing. Is This Ok? Thanks, Dmg  Conclusion: Even Young Babies Can Distinguish Different Phonemes. Later Research Would Use Similar Methods To Show That Young Babies Can Distinguish All The Phonemes That Have Been Found In Any Language. Because The Baby’S Response Increases When The New Phoneme Is Presented, She Must Be Able To Distinguish It From The Previous Phoneme. Average Number Of Sucking Responses (A) 100 80 60 40 20 0 6–8 10–12 Months Months Age Of Infants (B) 100 80 60 40 20 0 Figure 10.7 Sharpening Phoneme Detection Infants Slowly Lose The Ability To Dis- Tinguish Phonemes If They Are Not Exposed To Them. (A) At 6–8 Months Of Age, Ameri- Can And Japanese Infants Are Equally Good At Distinguishing The Sound Of R Versus L. A Few Months Later, American Babies Become Better At Distinguishing The Two Sounds, But Japanese Infants, Having No Exposure To English, Begin To Lose The Capacity To Tell The Two Phonemes Apart. (B) American Babies Can Distinguish Phonemes In Hindi That English-Speaking Adults Cannot. (A After Kuhl Et Al., 2006; B After Werker Et Al., 1981.) Adult Monkeys Can Also Discriminate Between Phonemes (Ramus Et Al., 2000), So This Ability May Reflect A Basic Property Of The Primate Auditory Sys- Tem. But There’S More To The Story About Babies. By Attending To The Pho- Nemes In The Language Spoken Around Them, Human Babies, Who Begin Life Babbling Nearly All The Phonemes Known In All Human Languages, Soon Come To Use Only The Subset Of Phonemes In Use Around Them. Not Only That, But Human Babies Also Get Better And Better At Distinguishing The Phonemes They’Re Exposed To. As They Get More And More Exposure To The Phonemes In Use Around Them, They Slowly Lose The Ability To Distinguish Other Phonemes. For Example, Japanese Newborns Can Distinguish Between The Sounds For R Versus L, But If They Hear Only Japanese While Growing Up, They Will Find It Hard To Tell Those Sounds Apart As Adults (Figure 10.7a; Kuhl Et Al., 2006). As An- Other Example, Native English-Speaking Adults Have A Very Difficult Time Distin- Guishing Some Of The Phonemes In Hindi, One Of The Official Languages Of India. Yet 6- To 8-Month-Old Babies From English-Speaking Households Can Detect Those Different Hindi Phonemes (Figure 10.7b; Werker Et Al., 1981). Babies Begin This Process Of Losing The Ability To Distinguish Phonemes They Have Not Been Exposed To At About The Age They Themselves Start Making Halting Lan- Guage-Like Sounds, At 6 To 8 Months Of Age. The Baby’S Developing Language Abilities Are Especially Shaped By Motherese, The Singsong, High-Pitched Speech With Slow, Exaggerated Pro- Nunciation That Parents Use With Their Babies (Falk, 2004) In All Cultures (Boys- Son-Bardies, 2001). Babies Will Work Especially Hard To Hear This Sort Of Speech. The Lilting Qualities Of Motherese Convey Emotional Tone And Reward, Helping The Baby Attend To Speech And Use Developing Memory Skills To At- Tach Meaning To Previously Arbitrary Speech Sounds. The Fact That Babies Go Through This Process Of Attending To Speech And Sharpening Their Ability To Distinguish The Phonemes They Hear, And Losing The Ability To Distinguish Other Phonemes, Suggests That Our Brain Is Specialized To Motherese Learn Language. Certainly Many Linguists Believe This, And To The Extent That There The Singsong, High- Pitched Speech With Slow, Exaggerated Pronunciation That Parents Use With Babies. Breedlove Intro Psych 1e Fig. 10.06, #1006 06/30/14 07/10/14 Dragonfly Media Group Language And Cognition 407 American Infants Japanese Infants Adult Hindi Speakers American Infants Adult English Speakers Infants In English-Speaking Homes Can Distinguish Hindi Phonemes That Their Parents Cannot. Percentage Of Infants Distinguishing English Phonemes Percentage Of Participants Distinguishing Phonemes 408 Chapter 10 Box 10.1 Psychology In Everyday Life Williams Syndrome Offers Clues About Language Williams Syndrome, Which Occurs In Approximately 1 Out Of 20,000 Births (Bower, 2000), Illustrates A Fascinating Disconnect Between What We Normally Regard As Intelligence And Language. Individuals With Williams Syndrome Speak Freely And Fluently With A Large Vocabulary, Yet They May Be Unable To Draw Simple Images, Arrange Colored Blocks To Match An Example, Or Tie Shoelaces. The Individuals Are Very Sociable, Ready To Strike Up Conversa- Tion And Smile. They May Also Display Strong Musical Talent, Either Singing (See Figure) Or Playing An Instrument. The Syndrome Results From The Dele- Tion Of About 28 Genes From One Of The Two Copies Of Chromosome 7 (De Luis Et Al., 2000). No One Understands Why The Remaining Copies Of These Genes, On The Other Chromosome 7, Do Not Compensate For The Lost Copies. The Absence Of One Copy Of The Gene Called Elastin (Which Encodes A Protein Important For Connective Tissue In Skin And Ligaments) Leads To Pixielike Facial Features In People Who Have Williams Syndrome. Several Of The Other Missing Genes Are Thought To Lead To Changes In Brain Development And To The Behavioral Features Of The Syndrome. Because Speech Development In Williams Syndrome Is Spared In A Brain That Finds Many Other Tasks Difficult, The Human Brain May Indeed Be Spe- Cialized To Pick Up Languages In A Way That’S Distinct From Solving Other Tasks. The Psychological Development Of Such Individuals Is Complicated. As Infants They May Display A Greater Understanding Of Numbers Than Other Infants, But As Adults They May Show A Poor Grasp Of Numbers. Con- Versely, Their Language Performance Is Poor In Infancy But Greatly Improved By Adulthood (Paterson Et Al., The Appearance Of Williams Syndrome Children With Williams Syn- Drome Are Often Very Fluent In Languages And Very Expressive In Music. 1999). These Findings Suggest That The Developmental Process Is Distinctively Altered In Williams Syndrome, Which Adds To The Mystery Of Why These Children Seem To Catch Up In Language But Not Other Skills. In- Triguingly, Possession Of Extra Copies Of The Identified Genes On Chromosome 7—Rather Than Deletions Of These Genes—Produces A Syndrome That Is, In Many Ways, The Converse Of Williams Syndrome: Very Poor Expressive Language Accompanied By Normal Spatial Abilities (Somerville Et Al., 2005). These Cases Also Suggest That The Learning Of Language Is Distinct From Other Forms Of Intelligence, Perhaps Because Humans Evolved A Specialized Capacity To Acquire Language. Williams Syndrome A Genetic Disorder Characterized By Normal Verbal Abilities But Severe Deficits In Spatial Reasoning. Is Any Disagreement, It Lies In Different Ideas About What It Means To Say The Brain Is “Specialized.” One Reason To Think That Parts Of The Human Brain Are Especially Adapted To Learn Language, As Opposed To Being Generalized To Solve Any Prob- Lem, Is The Observation That Some People Have Especially Fluent Speech But Have Great Difficulty With Non-Speech Tasks, Discussed In Box 10.1. While It Is True That Babies Are Remarkably Good At Picking Up Language, They Need That Exposure To Language Early In Life In Order To Become Proficient In Lan- Guage, As We’Ll Discuss Next.
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