The gesture-as-simulated-action framework explains the occurrence of iconic gestures. Accordingly, simulated visual imagery gives rise to observer-viewpoint, whereas simulated motor imagery gives rise to character-viewpoint gestures. Because little is known about whether this relationship is either the product of becoming a competent speaker in different communicative tasks or exists from an early age, we investigated 4-year-olds. In the first session, 55 children performed three different communicative tasks. In the second session, we administered a SON-R non-verbal intelligence test to assess children’s (...) cognitive abilities. Results revealed a strong association between the frequency with which children used observer-viewpoints gestures and their scores in visual processing abilities. Because the association between gestures and visuospatial cognitive abilities was found across three communicative tasks, we can propose that it is a general ability rather than a phenomenon of task-specific discourse competence. We discuss these findings in terms of gestural threshold and cognitive offloading. (shrink)

S pamfletom Avtoemancipacija! (1882), temeljnim besedilom zgodnjega judovskega nacionalizma, je Leon Pinsker po nekaterih argumentih uveljavil sionizem kot nemško govoreče in pišoče gibanje. Kmalu po izidu pamfleta je priznani jidiš pisatelj Šolem Jankev Abramovič objavil njegov prevod v jidiš (1884). V Abramovičevi različici so nemški oziroma zahodnoevropski politični in kulturni koncepti ter besednjak prirejeni vzhodnoevropskemu, judovskemu, jidiš govorečemu okolju, kar vključuje spremembe v besedišču, retoričnih strategijah in kulturnih referencah. Abramovič je pamflet predelal v skladu s svojim razmislekom o (...) stiski Judov v Ruskem imperiju in njeni mogoči nacionalistični rešitvi, s čimer se je ukvarjal tudi v svojih sočasnih romanih. V članku primerjam, kako so v obeh besedilih izraženi nekateri družbenopolitični koncepti, da bi ugotovil, ali Abramovič s svojo ideološko skepso prefinjeno priredi tudi vsebino nacionalistične teze. (shrink)

Russian Romanticism, which first acquired recognizable contours in the 1820s, was a substantively significant phenomenon in Russian culture. Russian Romanticism assumed the unique forms of a sociophilosophical and literaryesthetic current that did not take shape within the confines of a purely literary movement. Romanticism was an important element in the culturalhistorical development of mankind; it was a special type of philosophicalhistorical interpretation of the world and a special type of esthetic awareness and literary-artistic conduct.

No crucial experiment demonstrates that four hue categories are needed to describe color appearance. Instead, converging lines of evidence suggest that the terms red, yellow, green, and blue are sufficient and precise enough for deriving color discrimination functions and for a useful model constraining relations between color appearance and neuronal responses. Such a model need not be based on linguistic universals. Until something better is available, this holds.

I would like to begin with the role of philosophy in solving ecological problems, emphasizing two aspects of its role: the struggle against hostile ideology and the organizing and guiding of activity in the sphere of the development of science and the shaping of its problems. This role of Marxist-Leninist philosophy clearly appears in the complex interdisciplinary problem of the interaction between nature and society.

The paper is devoted to Nikolay Lossky who was one of the leading Russian philosophers of the first half of the twentieth century. We demonstrate the interrelationship between three aspects of Lossky’s philosophy: realism in the theory of knowledge, hierarchical personalism, and supra-naturalistic concept of evolution. We pay attention to the contemporary relevance of Lossky, and we discuss and critique his ideas in light of those of other philosophers. Lossky acknowledges that the subject interacts with being itself and that knowledge (...) is not a shadow or copy of being. His ontology is based on intuitivism and epistemological optimism. Its main categories are God, as the super-systematic principle, and monads. In Lossky’s metaphysics, the idea of abstract ideal principles of being is quite harmoniously combined with personalism. Lossky’s ontology has strong ethical underpinnings. He considers that values are rooted in being and that the evolution of the world is directed by God towards the good. Lossky elaborates a supra-naturalistic concept of evolution. He extrapolates principles of teleological determination, which are fundamental to human existence, on the underlying levels of the world as a whole. Many trends of modern thought are in tune with Lossky’s philosophy, including a return to metaphysics, panpsychism, Platonism, and the desire to unite the religious worldview with new scientific discoveries. (shrink)

When young children learn to use language, they start to use their hands in co‐verbal gesturing. There are, however, considerable differences between children, and it is not completely understood what these individual differences are due to. We studied how children at 4 years of age employ speech and iconic gestures to convey meaning in different kinds of spatial event descriptions, and how this relates to their cognitive abilities. Focusing on spontaneous illustrations of actions, we applied a semantic feature (SF) analysis (...) to characterize combinations of speech and gesture meaning and related them to the child's visual‐spatial abilities or abstract/concrete reasoning abilities (measured using the standardized SON‐R test). Results show that children with higher cognitive abilities convey significantly more meaning via gesture and less solely via speech. These findings suggest that young children's use of cospeech representational gesturing is positively related to their mental representation and reasoning abilities. (shrink)

In recent years attention to the philosophical and literary production of P. A. Florenskii has become commonplace. The thinker's intellectual legacy is very great. In September 1919, Florenskii wrote a prospectus for a collection of his own writings, which would have amounted to nineteen volumes. The collection was not published, for a number of reasons; nonetheless, many of the philosopher's works did come out during his lifetime. Florenskii's writing, published in small editions and scattered among various journals, are still quite (...) inaccessible to readers. (shrink)

Levinas Faces Biblical Figures captures the drama of the encounter between a great philosopher and a text of primary importance. The book considers the ways in which Levinas's thoughts can open up the biblical text to requestioning, and how the biblical text can inform our reading of Levinas.

Leon Pinsker’s pamphlet Autoemancipation! (1882), a seminal text of early Jewish nationalism, arguably established Zionism as a movement functioning in the German language. Soon after its publication, the renowned Yiddish writer Sh. Y. Abramovitch produced a Yiddish language version (1884). Abramovitsh’s rendering is above all an adaptation of German or Western European political and cultural concepts and vocabulary to the Jewish, Eastern European Yiddish-speaking milieu, with changes in vocabulary, rhetorical strategies, and cultural references. Abramovitsh reworked the pamphlet according to his (...) own thinking on the plight of Jews in the Russian Empire and a possible nationalist solution, as exemplified in his contemporary novels. In the article, I compare the language in which several socio-political concepts are expressed in the two texts in order to determine whether Abramovitsh, in his ideological skepticism, also subtly adapts the content of the nationalist thesis. (shrink)

This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work (...) is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art. (shrink)

The Onion is a 1995 video performance by Marina Abramović. The essay aims at analyzing some central themes of the artist’s path, taking this work as reference text. First of all, by including the artist in the process of dissolution of beauty marking the art of the Twentieth century and regarding performance art as one of the outcomes of this process inaugurated by the avant-gardes. Secondly, by showing the link between the political dimension and an existential reflection focused on the (...) role of the artist and the woman in the contemporary world. (shrink)

M’appuyant sur la pratique de l’artiste Marina Abramović qui vise à constituer la performance en art de répertoire, je propose dans cet article une ontologie des œuvres performatives. Est-il possible de re-performer une œuvre du passé, comme on exécuterait une œuvre musicale définie par sa partition? La question philosophique que j’adresse s’inscrit dans le cadre d’une ontologie appliquée sensible aux problèmes concrets que soulèvent certaines pratiques bien identifiées dans le monde de l’art : identification, préservation et conservation des œuvres. J’examine (...) successivement différentes hypothèses : une performance artistique est un événement typique identifié par son script et multiplement instanciable ; la performance artistique est l’énonciation d’une idée ; la performance artistique est un événement doublement initié et par le contexte de sa composition et par celui de son exécution. Ces différentes formulations conduisent à interroger la place de l’interprète dans les performances artistiques. Ma contribution principale consiste à mettre au jour les conditions de félicité des œuvres performatives et à interroger la relation que ces conditions de félicité entretiennent avec les critères d’identification des œuvres dans le cadre d’une interprétation contextualiste de l’ontologie. (shrink)

This study examines how hunger narratives and performances contribute to a reconsideration of neglected or prohibited domains of thinking which only a full confrontation with the body's heterogeneity and plasticity can reveal. From literary motif or psychosomatic symptom to revolutionary gesture or existential malady, the double crux of hunger and disgust is a powerful force which can define the experience of embodiment. Kafka's fable of the "Hunger Artist" offers a matrix for the fast, while its surprising last-page revelation introduces disgust (...) as a correlative of abstinence, conscious or otherwise. Grounded in Kristeva's theory of abjection, the figure of the fraught body lurking at the heart of the negative grotesque gathers precision throughout this study, where it is employed in a widening series of contexts: suicide through overeating, starvation as self-performance or political resistance, the teratological versus the totalitarian, the anorexic harboring of death. In the process, writers and artists as diverse as Herman Melville, Percy Bysshe Shelley, Christina Rossetti, George Orwell, Knut Hamsun, J.M. Coetzee, Cindy Sherman, Pieter Breughel, Marina Abramovic, David Nebreda, Paul McCarthy, and others are brought into the discussion. By looking at the different acts of visceral, affective, and ideological resistance performed by the starving body, this book intensifies the relationship between hunger and disgust studies while offering insight into the modalities of the "dark grotesque" which inform the aesthetics and politics of hunger. It will be of value to anyone interested in the culture, politics, and subjectivity of embodiment, and scholars working within the fields of disgust studies, food studies, literary studies, cultural theory, and media studies. (shrink)

Originally published in Proceedings of the British Academy 60 (1974), 339-359.

Originally published in Proceedings of the British Academy 60 (1974), 339-359.

Thomas J.J. Altizer is one of the most important theologians of the twentieth and early twenty-first centuries, and all radical theology must pass through and be conversant with his work and the historical significance of his earlier contributions. This chapter presents Altizer’s essential ideas in a straightforward and accessible manner and provides a guide for the beginning reader.