Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian's description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’. ‘This as if from an observation point, Lessing notes, obviously implies that Lucian himself was uncertain whether this figure was positioned further back, or was at the same time on higher ground. We need to recognize the (...) logic of ancient bas-reliefs where figures further to the back look over those at the front, not because they are actually positioned above them but because they are meant to appear as if standing behind.'1 · 1. The passage is in George Lessing, Briefe, antiquarischen Inhalts, p. 81. Panofsky's discussion does not note that the original text of Lucian makes clear that what is described is a copy of the original painting. This means that some of the issues of misunderstanding situated by Lessing and Panofsky in Lucian's court may in principle be attributable to the copyist. This makes no difference to the conceptual thrust of Panofsky's case.—Trans. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.3 (2005) 461-463 [Access article in PDF] Graham Zanker. Modes of Viewing in Hellenistic Poetry and Art. Wisconsin Studies in Classics. Madison: The University of Wisconsin Press, 2004. xiv + 223 pp. 34 black-and-white ills. Cloth, $39.95. The underlying contention here is that if a Hellenistic poetic description of a person, an animal, the weather, a scene, or an objet d'art adopts a particular way (...) of viewing, we have independent evidence for the habits of viewing that Hellenistic people would have brought to their contemplation of representational art. (4) So Graham Zanker summarizes the thesis of his new book, the most extensive and detailed account of Hellenistic visuality yet published. This is a carefully worded sentence. Zanker's enumeration of poetic descriptions of "a person, an animal, the weather, a scene or an objet d'art" deliberately exemplifies what he takes to be the scope of ekphrasis and hence reproves those who have taken ekphrasis more narrowly as the description of works of art (cf. 6–10). The target of this disapproval turns out to be especially Simon Goldhill, whom he attacks at 82–83 and in a long endnote (184–85, n. 26). Yet the care to be precise in matters of literary definition goes with such large, even lax, social and cultural generalizations as "Hellenistic people" and "representational art." What Zanker must mean by those whose contemplation of art can be evoked through poetic descriptions is a highly literate and educated social elite—perhaps the court itself—that may have played (Marie-Antoinette-like) at shepherds and fishermen (as in the cup of Theocritus' first Idyll) but surely did so from a much narrower social perspective than the totalizing generalism of "Hellenistic people." The weapon of precision is a dangerous one to use, when it may be turned back on the user.There are, moreover, numerous problems with both the notion of "independent evidence" and that of "habits of viewing." While the literary evidence of ekphrasis (not only in poetry) certainly encompasses viewing, its specially wrought and often spectacular cleverness may signal the exceptional, even the perverse, as much as (or more than) the habitual. Does a revolutionary statue like the Aphrodite of Cnidos (not actually Hellenistic, but nonetheless rightly incorporated at some length in Zanker's book) reflect or elicit the habitual gaze? In what sense? And, if so, when? Was the gaze it enticed at its moment of creation "habitual," or did that gaze only become "habitual" in its numerous—within our surviving material archive of examples, mainly Roman-period—versions and replications? More difficult still is "independent evidence." I am not really sure what that could be in a topic created from critical and interpretative explications of complex images and texts that do not themselves draw explicit or simple conclusions about viewing (or anything) beyond what readers may impute to them. How they may collectively constitute evidence about viewing can only come about as the result of argument. I think a compelling argument based on the critical interpretation of images and texts may be taken as evidence, but is that "independent evidence?" What does this mean? And such a complex argument is a very different kind of evidence from what Zanker seems to mean by any particular viewpoint we may find expressed in an ekphrasis. [End Page 461]Again, I do not think it follows that the evidence for viewing we may entice from a poetic description of a person, an animal, or the weather need necessarily be related to the contemplation of a work of art. Indeed, Zanker's use of the term contemplation (with its Kantian overtones) appears to indicate a specifically aesthetic zone of response. Certainly the Hellenistic period explicitly elevated creativity in the visual arts to a new canonical status with its creation of art-historical narratives and histories devolving on the rise of naturalism and on the genius of particular hallowed artists who are preserved for us by the likes of Quintilian and Pliny. That special aestheticism, marked in the choice of works of... (shrink)

Through a specific example, this paper explores the problems of empiricism and ideology in the uses of material-cultural and visual evidence for the writing of ancient history. The focus is on an Athenian documentary stele with a fine relief from the late fifth century bc, the history of its publications, and their failure to account for the totality of the object's information—sculptural and epigraphic—let alone the range of rhetorical ambiguities that its texts and images implied in their fifth-century context. While (...) the paper reflects on the Samos Stele, it also considers the broader hermeneutic problems of approaching the different discourses ofword and imagewithin antiquity andworries about the distortions introduced into ancient history by modern formulations, descriptions, and translations of the past. (shrink)

Populated with the likes of Francis of Assisi, Teresa of Avila, and Padre Pio, this book is a fascinating inquiry into the status of saints in the modern world.

Review of a book Seeing the Face, Seeing the Soul. Polemon's Physiognomy from Classical Antiquity to Medieval Islam by S. Swain, George Boys-Stones, Jas Eisner, Antonella Ghersetti, Robert Hoyland, Ian Repath.

Scholars of the ancient world are increasingly recognizing the importance of ancient collections for our understanding of antiquity. In his afterword toMuseum Archetypes and Collecting in the Ancient World(2015), Jaś Elsner argues that much of our knowledge of antiquity is based on collections assembled within the ancient world, and that the study of these collections provides us with a unique opportunity to uncover the mentalities of the people whom they surrounded. Pointing out that they ‘packaged the past and the (...) present for its own needs, much as modern museums do now’, Elsner argues that ancient collections may be approached as ‘significant engine[s] for social and cultural self-definition’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 633-637 [Access article in PDF] Susan E. Alcock, John F. Cherry, and Jas; Elsner, eds. Pausanias: Travel and Memory in Roman Greece. Oxford: Oxford University Press, 2001. xii + 379 pp. Cloth, $65. As he moves from monument to monument and polis to polis, Pausanias gives the impression that the sun is always shining and the weather fresh and sweet. Beyond the (...) next turn in the road, there might be a grove or spring and maybe a precinct of Demeter, a statue of Artemis, or a little temple of Aphrodite. If they were "worth seeing," we can rely on Pausanias to let us know. Delivering a mixed narrative that weaves together history, myth, and his own style of ekphrasis, his even-toned voiceover makes him a comfortable traveling companion. Or does it? We know that the oaks on Mt. Parnon make the forest dark (they are still there today), but for Pausanias, the land is called Skotitas, "Dark," not for the shadows of the oaks, but for Zeus Skotitas who had his sanctuary nearby. As Ada Cohen points out in her essay, Pausanias does not describe the landscape itself but only the places where it intersects with divinity. As the collaborators here make clear, similar principles of selection operate on other levels. Pausanias may enable us to visualize a lost world, but the view is sanitized. Writing at the peak of Roman wealth, power, and privilege, he gives us old Greece with hardly a trace of Rome. He presents cities without houses, landscapes without agriculture, sanctuaries without worshippers, and the past without the present. Like the cardboard and cellophane 3-D glasses worn by cinema audiences in the 1950s, his text brings into temporary and unstable focus a very specialized scene, but the view is that of a virtual museum, a theme park created for our viewing enjoyment.How did he do it and what are the consequences? I admit that when it comes to Pausanias, I am one of those "seekers after lost religions" whom Elsner classifies with archaeologists surveying the text of Pausanias for possible excavation sites. We will all be a little more careful after reading this book. Yet, where else [End Page 633] could we find the information Pausanias gives? Habicht rehabilitated Pausanias in the 1980s by demonstrating how well his text stands up when compared with the surviving external record. Pausanias did not have a spreadsheet to keep straight the sixty-nine altars at Olympia, but he must at least have taken notes.The arrangement of the articles presented here replicates a familiar academic setting. Structured like a weekend conference, the book divides into three sessions ("The Traveler and the Text," "Studies and Comparisons," and "Nachleben"), with four papers and two comments in each session. Very generally, the topics are: landscape as language (J. Elsner); mental baggage and method (E. Bowie); informants and information (C. P. Jones); pilgrimage and the inspiration of vision (I. Rutherford); selection and cultural choice (M. Torelli); memory and memorization (D. Konstan); identity, monumentality and the recall of mo(nu)ments sublime (J. Porter); representation of space and movement (A. Cohen); archaic text and image on the chest of Kypselos (A. M. Snodgrass); filling the empty map of Messenia (S. E. Alcock); Greek narratives in Roman images (B. Bergmann); other Spartas (P. Cartledge); shaping the genre of travel writing (S. B. Sutton); Leake's Pausanias and Greek topography (J. M. Wagstaff); rearranging Pausanias or Farnell on Greek ritual (J. Henderson); Harrison and Verrall present Pausanias for the hoipolloi (M. Beard); Sparta and the French Enlightenment (S. Bann); and remembering and reforming the past (J. Cherry).There isn't space enough here to do justice to every argument, but I will take a sentence to praise the editors for inspiring the synergy of so many specialties. Archaeologists talk about texts; literary scholars talk about places and objects; and art historians discuss the relation between the two. The section entitled Nachleben surveys the nineteenth-century efflorescence of Pausanias and from four very different vantage points evaluates his influence on... (shrink)

What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excised yet is fundamental to the operations of the whole. But although it often serves (...) as a site of perceived excess and sublimation in his work, the ekphrastic elements of Winckelmann’s prose are nevertheless some of the most historicist aspects of his scholarship, shaped by a deep engagement with Greco-Roman ekphrastic literature. Description, in this sense, serves as a Platonic pharmakon—both affliction and cure for classical art history’s medial and ontological separation from its ruined and fragmented objects. In Winckelmann’s description of the torso, ekphrasis holds out the potential for the statue’s “completion” (Ergänzung). But understood according to eighteenth-century practices of visual restoration, this raises the question of whether such “whole-making” should be understood as proper or supplemental to the original image. What does it mean to “re-member” the Belvedere Torso through ekphrastic strategies drawn from antiquity itself? And what does this imply for our own textual (and pharmacological) mediations of the visual? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 pp. 1 (...) black-and-white ill. Cloth, $99.Bers, Victor. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies 33. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. ix + 159 pp. Paper, $15.95.Bowie, Ewen, and Jaś Elsner, eds. Philostratus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2009. xii + 401 pp. 14 black-and-white ills. Cloth, $135.Bowlby, Rachel. Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford: Oxford University Press, 2009. viii + 251 pp. Paper, $49.95.Calame, Claude. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Hellenic Studies 18. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. xii + 267 pp. 9 black-and-white figs. Paper, $19.95Collins, Paul. Assyrian Palace Sculptures. With photographs by Lisa Baylis and Sandra Marshall. Austin: University of Texas Press, 2009. 144 pp. Numerous color ills. Cloth, $45.Coltman, Viccy. Classical Sculpture and the Culture of Collecting in Britain Since 1870. Classical Presences. Oxford: Oxford University Press, 2009. xiv + 315 pp. 85 black-and-white figs., 32 color plates. Cloth, $99.Comoth, Katharina. Gott selbst und die Idee. Beiträge zur Philosophie. Heidelberg: Universitätsverlag Winter, 2009. 86 pp. 2 black-and-white ills. Paper, €10.Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton, N.J.: Princeton University Press, 2007. xv + 421 pp. Numerous black-and-white figs., 27 color plates, 3 maps. Paper, $35. [End Page 345]Eezzuduemhoi, James. I. A. A Fundamental Greek Course. Ed. Glenn Storey. Lanham, Md.: University Press of America, 2009. xxxv + 547 pp. Paper, $65.Erskine, Andrew, ed. A Companion to Ancient History. Blackwell Companions to the Ancient World. Malden, Mass.: Wiley-Blackwell, 2009. xxxvii + 693 pp. 27 black-and-white figs., 5 maps. Cloth, $199.95.Flower, Harriet I. Roman Republics. Princeton, N.J.: Princeton University Press, 2010. xv + 204 pp. Cloth, $29.95.Föllinger, Sabine. Aischylos: Meister der griechischen Tragödie. Munich: C. H. Beck, 2009. 224 pp. 5 black-and-white ills. Cloth, €24.90.Goldhill, Simon, and Edith Hall, eds. Sophocles and the Greek Tragic Tradition. Cambridge: Cambridge University Press, 2009. xvi + 336 pp. Cloth, $99.Grethlein, Jonas, and Antonios Rengakos, eds. Narratology and Interpretation. Trends in Classics 4. Berlin: Walter de Gruyter, 2009. vii + 630 pp. Cloth, €93.41.Haziza, Typhaine. Le Kaléidoscope hérodotéen: Images, imaginaire et représentations de l'Égypte à travers le livre II d'Hérodote. Études anciennes 142. Paris: Les Belles Lettres, 2009. 393 pp. 7 black-and-white figs. Paper, €45.Jouanna, Jacques, and Franco Montanari, eds. Eschyle: À l'aube du théâtre occidental. Entretiens Hardt 55. Geneva: Fondation Hardt, 2009. Dist. by Vandoeuvres. xi + 510 pp. Cloth: SFr 85.Johnson, Mark J. The Roman Imperial Mausoleum in Late Antiquity. Cambridge: Cambridge University Press, 2009. xviii + 296 pp. Numerous black-and-white figs., 16 color plates. Cloth, $95.Kronenberg, Leah. Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge: Cambridge University Press, 2009. xi + 223 pp. Cloth, $99.Loukopoulou, Louisa D., and Selene Psoma, eds. Thrakika Zetemata. Vol. 1. In collaboration with Athéna Iakovidou. Meletemata 58. Athens: Research Centre for Greek and Roman Antiquity of the National Hellenic Research Foundation, 2008. Dist. by Boccard. 175 pp. Numerous black-and-white figs. Paper, price not stated.Lowrie, Michèle, ed. Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press, 2009. viii + 472 pp. Cloth, $199; paper, $75.Martin, Gunther. Divine Talk: Religious Argumentation in Demosthenes. Oxford Classical Mongraphs. Oxford: Oxford University Press, 2009. ix + 345 pp. Cloth, $125. [End Page 346]Mendoni, Lina G., and Sophia B... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Maternal Megalomania: Julia Domna and the Imperial Politics of Motherhood by Julie LangfordLien FoubertJulie Langford. Maternal Megalomania: Julia Domna and the Imperial Politics of Motherhood. Baltimore, Md.: Johns Hopkins University Press, 2013. xiv + 203 pp. 20 black-and-white figs. Cloth, $55.It is now well-established that, through various media, imperial propaganda was aimed at different groups in Roman society. Ever since Jaś Elsner’s influential publication (Art and the (...) Roman Viewer: The Transformation of Art from the Pagan World to Christianity [Cambridge 1995]), scholars have also widely acknowledged that one should always reckon with the role of “the viewer” when studying processes of communication. Yet it remains difficult to find ways of measuring viewers’ responses to imperial messages, in particular when it concerns imperial [End Page 678] women, for whom we have far less evidence than for the male protagonists of Roman imperial history. Julie Langford’s study of the representation of Julia Domna and the way in which her image as a mother was perceived by the military, the Populus Romanus, and the Senate is, therefore, a much needed scholarly enterprise. By choosing this approach, the author builds on the model of the Principate as an “acceptance system,” first introduced by Egon Flaig in 1992 (Den Kaiser herausfordern: die Usurpation im römischen Reich [Frankfurt]), although this influence remains implicit as Flaig’s text is not mentioned in the introduction nor is it included in the bibliography. In this monograph, which is explicitly not intended as a biography in search of the “real” Julia Domna, Langford aims at examining the ideological negotiations that took place between image-makers.In chapter 1 (“Not Your Momma. Problematizing Julia Domna as the Mater Castrorum”), the author sets out to examine the relationship between the military and Julia Domna by means of a study of ideological discourses on the presence of women in a military context up to the time of Septimius Severus, the conferral of the title Mater Castrorum on Faustina Minor and Julia Domna, and the reactions to the latter by different groups within the army (one should also consult M.A. Speidel’s “Faustina—mater castrorum. Ein Beitrag zur Religionsgeschichte,” Tyche 27 [2012]: 127–52, which probably appeared too late for the author to take into account). She concludes that, contrary to what is often assumed, the title of “Mother of the Camps” was not granted to tighten or emphasize the connection between empresses and the army, but was instead aimed at the people of Rome and the provinces. For by creating the image of a familial connection between the soldiers and the imperial house, and thus implying that the military would support and protect their imperial “mother,” her husband, and her sons, the inhabitants of the Roman Empire would be discouraged from starting an uprising. The arguments that are put forward by the author are twofold. On the one hand, inscriptions, coins, and literary sources indicate that the military did not constitute a well-defined target of imperial propaganda with regard to Julia Domna’s military representations. For instance, less than 6 percent of the dedications to the empress studied by the author were set up by soldiers. In addition, although the Roman mint produced coins that advertised the empress’ title of Mater Castrorum from 196 onwards, this practice was not extended to the eastern traveling mints, which are often assumed to have been fundamental for the distribution of salaries or donations and, consequently, would have been a logical starting point for spreading ideological messages. On the other hand, the author pays attention to the poor reputation of Julia Domna within the army, focusing above all on the figures of Plautianus and Julius Crispus (38–44), and sees this as an indication of the initial reluctance of the soldiers to associate the empress with anything connected to the military sphere, including the acknowledgment of Julia Domna as “their mother.” The first argument in particular is convincing, since—even though the author admits that much remains unproven with regard to the role of eastern mints—the combination of epigraphic and numismatic source material shows that messages sent out by the imperial administration... (shrink)

The present study investigated whether infants learn the effects of other persons' actions like they do for their own actions, and whether infants transfer observed action-effect relations to their own actions. Nine-, 12-, 15- and 18-month-olds explored an object that allowed two actions, and that produced a certain salient effect after each action. In a self-exploration group, infants explored the object directly, whereas in two observation groups, infants first watched an adult model acting on the object and obtaining a certain (...) effect with each action before exploring the objects by themselves. In one observation group, the infants' actions were followed by the same effects as the model's actions, but in the other group, the action-effect mapping for the infant was reversed to that of the model. The results showed that the observation of the model had an impact on the infants' exploration behavior from 12 months, but not earlier, and that the specific relations between observed actions and effects were acquired by 15 months. Thus, around their first birthday infants learn the effects of other persons' actions by observation, and they transfer the observed action-effect relations to their own actions in the second year of life. (shrink)

Looking times and gaze behavior indicate that infants can predict the goal state of an observed simple action event (e.g., object‐directed grasping) already in the first year of life. The present paper mainly focuses on infants’ predictive gaze‐shifts toward the goal of an ongoing action. For this, infants need to generate a forward model of the to‐be‐obtained goal state and to disengage their gaze from the moving agent at a time when information about the action event is still incomplete. By (...) about 6 months of age, infants show goal‐predictive gaze‐shifts, but mainly for familiar actions that they can perform themselves (e.g., grasping) and for familiar agents (e.g., a human hand). Therefore, some theoretical models have highlighted close relations between infants’ ability for action‐goal prediction and their motor development and/or emerging action experience. Recent research indicates that infants can also predict action goals of familiar simple actions performed by non‐human agents (e.g., object‐directed grasping by a mechanical claw) when these agents display agency cues, such as self‐propelled movement, equifinality of goal approach, or production of a salient action effect. This paper provides a review on relevant findings and theoretical models, and proposes that the impacts of action experience and of agency cues can be explained from an action‐event perspective. In particular, infants’ goal‐predictive gaze‐shifts are seen as resulting from an interplay between bottom‐up processing of perceptual information and top‐down influences exerted by event schemata that store information about previously executed or observed actions. (shrink)

Recently, priming effects of unconscious stimuli that were never presented as targets have been taken as evidence for the processing of the stimuli’s semantic categories. The present study explored the necessary conditions for a transfer of priming to novel primes. Stimuli were digits and letters which were presented in various viewer-related orientations . The transfer of priming to novel stimulus orientations and identities was remarkably limited: in Experiment 1, in which all conscious targets stood upright, no transfer to unconscious primes (...) in a non-target orientation was found. Experiment 2, in which primes were presented without masks, ruled out the possibility that primes were presented too short to allow congruency effects. In Experiments 3 and 4, in which all targets were presented upside down, priming transferred to upright stimuli with target identities but neither to horizontal stimuli nor to stimuli with novel identities. We suggest that whether a transfer of priming to unpracticed stimuli occurs or not depends on observers’ expectations of specific stimulus exemplars. (shrink)

Political Correctness ist nicht nur Reizthema und Schlagwort medialer Debatten, sondern auch in Alltagskommunikation oft Ausloser hitziger Debatten um sprachliche Diskriminierung. Doch wie positionieren sich eigentlich Sprachprofis zu diesem Thema, was rat das Worterbuch? Der Einfluss von Diskursen auf Worterbucher ist zwar in der Forschung unstrittig; eine umfassende Untersuchung zur Wirkung eines bestimmten zeitgenossischen Phanomens auf einen abgeschlossenen Wortschatzbereich existierte jedoch bislang nicht. Dieser Lucke widmet sich die Autorin, die den uber eine Korpusanalyse gewonnenen Wortschatz der Political Correctness aus den (...) ersten zehn Jahren (1990-2000) des Diskurses in den ersten sechs Auflagen (1983-2006) des Duden - Universalworterbuchs untersucht. Erstmals wird hier die Diskurslexik der Political Correctness der 1990er Jahre greifbar gemacht. Daruber hinaus werden vorhandene lexikographische Strategien beschrieben sowie deren Defizite im Umgang mit problematischer Lexik aufgedeckt. Die Arbeit zeigt, dass das Ringen um einen angemessenen Sprachgebrauch, die Vermeidung von Pejorisierung feste Bestandteile des Sprachhandelns darstellen, dem sich Worterbucher mit deskriptivem oder normativem Anspruch zu stellen haben. (shrink)

When Marcel Proust started to work on In Search of Lost Time in 1908, he wrote this question in his notebook: 'Should I make it a novel, a philosophical study, am I a novelist?' Throughout his famous multi-volume work Proust directly engages several philosophers, and few novels are as thoroughly statured with philosophical themes and concepts as In Search of Lost Time. The Proustian Mind is an outstanding reference source to the rich philosophical range of Proust's work and the first (...) major volume of its kind. Including 30 chapters by an international team of contributors, the volume is divided into seven clear parts: Proust's life and works; metaphysics and epistemology; mind and language; aesthetics; ethics; gender and sexuality; predecessors, contemporaries, and successors. Within these sections key Proustian themes are explored from a philosophical standpoint, including time, the self, memory, imagination, metaphor and meaning, beauty, love, egoism and solipsism and desire. The final section considers Proust in relation to important philosophers such as Schopenhauer, Nietzsche, Bergson, Walter Benjamin, Adorno, Merleau-Ponty, Sartre and Deleuze. The Proustian Mind is essential reading for those studying aesthetics, philosophy of literature, phenomenology and ethics, and will also be of interest to those in literature studying modernism, French literature, and the relationship between literature and philosophy. (shrink)

Speakers’ perception of a visual scene influences the language they use to describe it—which objects they choose to mention and how they characterize the relationships between them. We show that visual complexity can either delay or facilitate description generation, depending on how much disambiguating information is required and how useful the scene's complexity can be in providing, for example, helpful landmarks. To do so, we measure speech onset times, eye gaze, and utterance content in a reference production experiment in which (...) the target object is either unique or non-unique in a visual scene of varying size and complexity. Speakers delay speech onset if the target object is non-unique and requires disambiguation, and we argue that this reflects the cost of deciding on a high-level strategy for describing it. The eye-tracking data demonstrate that these delays increase when speakers are able to conduct an extensive early visual search, implying that when speakers scan too little of the scene early on, they may decide to begin speaking before becoming aware that their description is underspecified. Speakers’ content choices reflect the visual makeup of the scene—the number of distractors present and the availability of useful landmarks. Our results highlight the complex role of visual perception in reference production, showing that speakers can make good use of complexity in ways that reflect their visual processing of the scene. (shrink)

Debates about the development of artificial superintelligence and its potential threats to humanity tend to assume that such a system would be historically unprecedented, and that its behavior must be predicted from first principles. I argue that this is not true: we can analyze multiagent intelligent systems (the best candidates for practical superintelligence) by comparing them to states, which also unite heterogeneous intelligences to achieve superhuman goals. States provide a model for several problems discussed in the literature on superintelligence, such (...) as principal-agent problems and Instrumental Convergence. Philosophical arguments about governance, therefore, provide possible solutions to these problems, or point out problems in previously suggested solutions. In particular, the liberal concept of checks and balances, and Hannah Arendt’s concept of legitimacy, describe how state behavior is constrained by the preferences of constituents that could also apply to artificial systems. However, they also point out ways in which present-day computational developments could destabilize the international order by reducing the number of decision-makers involved in state actions. Thus, interstate competition not only serves as a model for the behavior of dangerous computational intelligences but also as the impetus for their development. (shrink)

Within bioethics, Kant’s conception of autonomy is often portrayed as excessively rationalistic, abstract, and individualistic, and, therefore, far removed from the reality of patients’ needs. Drawing on recent contributions in Kantian philosophy, we argue that specific features of Kantian autonomy remain relevant for medical ethics and for patient experience. We use contemporary end-of-life illness narratives—a resource that has not been analyzed with respect to autonomy—and show how they illustrate important Kantian themes, namely, the duty to know oneself, the interest in (...) elaborating universalizable principles, and the emphasis on ideals as points of orientation that guide behavior without ever being fully realized. As Kant does, the patient-authors discussed here perceive the end of life as a moment to reflect on the constitutive principles which have governed that life, thereby offering a privileged moment to pursue self-knowledge. We argue that bioethical conceptions of autonomy stand to gain if they revise their conception of Kantian moral philosophy as too formal, abstract, and detached from emotions and personal relationships to be helpfully applied. (shrink)

We live and thrive in a global society and economy where education and training is essential to a nation’s competitiveness and to the standard of living of its people. Opening the doors of higher or further education beyond the enrollments in elite or select universities has become a greater necessity. This has spawned a movement to develop or expand institutions that are more affordable, accessible, flexible, and tied to business and industry. Take a look at the systems that have been (...) developed in 20 countries worldwide that were designed to meet these needs. Historical development of each system, as well as the strategies for addressing national mandates for preparing a workforce for the global economy, are described throughout each chapter. (shrink)

Human reproductive cloning has not yet resulted in any live births. There has been widespread condemnation of the practice in both the scientific world and the public sphere, and many countries explicitly outlaw the practice. Concerns about the procedure range from uncertainties about its physical safety to questions about the psychological well-being of clones. Yet, key aspects such as the philosophical implications of harm to future entities and a comparison with established reproductive technologies such as in vitro fertilisation are often (...) overlooked in discussions about HRC. Furthermore, there are people who are willing to use the technology. Several scientists have been outspoken in their intent to pursue HRC. The importance of concerns about the physical safety of children created by HRC and comparisons with concerns about the safety of IVF are discussed. A model to be used to determine when it is acceptable to use HRC and other new assisted reproductive technologies, balancing reproductive freedom and safety concerns, is proposed. Justifications underpinning potential applications of HRC are discussed, and it is determined that these are highly analogous to rationalisations used to justify IVF treatment. It is concluded that people wishing to conceive using HRC should have a prima facie negative right to do so. (shrink)

It is a cliché that most Greek art was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. (...) The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception , but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion. (shrink)

Cognitive Science, Volume 45, Issue 8, August 2021.