patriarch perhaps, standing for the Law; and he will be tricked, just as Satan was tricked by the Incarnation, according to the tradition of the Middle Ages’. 6 He does not dwell on the deception of Satan, which I will discuss below, and instead argues that
The failure to resolve the Arab-Israeli conflict for many years has often been attributed in significant part to the absence of trust in the sincerity of the other side and, more specifically, to the recalcitrant nature of the opponent. Analyses of past proposals and actual negotiations have pointed out missed opportunities, possibly the result of misperceptions or misunderstandings. Recent archival research, publications, and interviews regarding the Israeli protagonists reveal that actual deception, as distinct from ‘misperception’, may have been at play. The article examines this phenomenon as it has appeared since 1967 in six instances of Israeli government dealings with its own public and with the US or the international community, even in recent months, due primarily to an unwillingness to withdraw from the Occupied Territories or agree to enter serious negotiations for ending the conflict with the Palestinians.
J. Brandon Colvin
People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.
Reining in the Future in the Yemeni Youth Revolution
’ constituted a collective act of temporal deception on the part of the revolutionaries. This trickery extended not just to anthropological expectation concerning what time is and how social life moves, but, more crucially, to the regime itself. After a year of
If people generally do a poor job of recognizing liars, it is interesting that so many movies employ deceptive characters. Duplicity and prevarication are common plot devices whereby scheming characters maneuver to get their way. Such movies often rely on viewers’ abilities to recognize the deception at hand. Does this represent a disconnect between movies and life, with viewers tasked in one arena with a skill set that doesn’t seem to function well in the other?
Anthropology and the alternative truth of America's 'War on Terror' in the Sahara
This article, based on almost eight years of continuous anthropological research amongst the Tuareg people of the Sahara and Sahel, suggests that the launch by the US and its main regional ally, Algeria, in 2002–2003 of a ‘new’, ‘second’, or ‘Saharan’ Front in the ‘War on Terror’ was largely a fabrication on the part of the US and Algerian military intelligence services. The ‘official truth’, embodied in an estimated 3,000 articles and reports of one sort or another, is largely disinformation. The article summarizes how and why this deception was effected and examines briefly its implications for both the region and its people as well as the future of US international relations and especially its global pursuance of an increasingly suspect ‘War on Terror’.
Interpreting, Experiencing, and Contesting Visa Policies and the (Im)mobility Regime in Algeria
This article explores the ways people targeted by restrictive migration and mobility policies in Algeria experience, interpret, and contest them. It focuses on the perspective of harragas, literally “those who burn” the borders. In the Maghrebi dialects, this is notably how people leaving without documentation are referred to. It reflects the fact that they do not respect the mandatory steps for legal departure. Also, they figuratively “burn” their papers to avoid deportation once in Europe. Drawing on qualitative fieldwork, this article outlines the complex and ambiguous attitudes toward the legal mobility regime of those it aims to exclude: compliance, deception, delegitimization, and defiance. It contributes to debates about human experiences of borders and inequality in mobility regimes. It helps deepen knowledge on why restrictive migration and mobility policies fail and are often counterproductive, encouraging the undocumented migration they were meant to deter.
Eve Rachele Sanders
The letter was the single most widely used property in Tudor-Stuart plays. In that memorable stage direction from The Spanish Tragedy, the letter is an instrumental device in the plot. It provides Hieronimo, the central protagonist of the revenge tragedy, with targets for revenge by identifying his son’s killers by name. However, the letter also is a sign for the interior state of mind of its writer, the beautiful Bel-imperia, in issuing a call for reprisal. It is a materialisation of what immaterial passions ultimately drive the action: desire, loss, and rage. Red ink. Blood signifies the authenticity of the words on the page. They come, literally, from Bel-imperia’s heart. And yet, the macabre medium of the message brings Hieronimo to see in it fatal implications for himself. ‘Hieronimo, beware’, he says to himself, ‘thou art betrayed, / And to entrap thy life this train is laid’. (Indeed, in another revenge tragedy, Bussy D’Ambois, an adulterous wife is forced at knifepoint to lay a snare for her lover with that very deception of a letter inscribed in her blood). This single moment in Thomas Kyd’s tragedy, Hieronimo’s reception of Bel-imperia’s ‘bloody writ’, captures the complex of attitudes that governed the circulation of letters as stage properties.
Exactly what does Jean-Paul Sartre mean when he describes some conscious awareness as ‘non-thetic’? He does not explicitly say. Yet this phrase, sprinkled liberally throughout his early philosophical works, is germane to some of the distinctive and fundamental theories of Sartrean existentialism. My aim in this paper is to examine the concept in terms of the role that Sartre claims it plays in bad faith (mauvaise foi), the deliberate and motivated project of refusing to face or consider the consequences of some fact or facts. I will argue that non-thetic awareness could play the role Sartre ascribes to it in bad faith only if it is understood as being equivalent to the nonconceptual representational content currently discussed in anglophone philosophy of mind. I will proceed by first providing an initial rough characterisation of ‘non-thetic’ awareness through a discussion of the philosophical background to Sartre’s term, then showing how this rough characterisation needs to be refined in order that bad faith may evade the two paradoxes of self-deception, next drawing the distinction between conceptual and nonconceptual content, and then arguing that non-thetic awareness must be construed as nonconceptual content. This clarification of one of the most pervasive and one of the most obscure concepts in Sartrean existentialism will have the additional ramifications that Sartre’s theory of consciousness in general must be understood as involving both conceptual and nonconceptual structures and that his discussion of the interplay of these structures can provide innovative and valuable contributions to the debates over the role of conceptual and nonconceptual contents in perception and action currently raging in anglophone discussions of mind.
Counterterrorism, techno-science, and the cultural reproduction of security
Mark Maguire and Pete Fussey
as basic emotional states, deception cues, and, potentially, emotional signs of hostile intent. Today, in a re-imagining of centuries-old criminological positivism, the techno-scientific projects emerging from homeland security include AVATAR