Monoallelic gene expression has played a significant role in the evolution of mammals enabling the expansion of a vast repertoire of olfactory receptor types and providing increased sensitivity and diversity. Monoallelic expression of immune receptor genes has also increased diversity for antigen recognition, while the same mechanism that marks a single allele for preferential rearrangement also provides a distinguishing feature for directing hypermutations. Random monoallelic expression of the X chromosome is necessary to balance gene (...) dosage across sexes. In marsupials only the maternal X chromosome is expressed, while in eutherian mammals the paternal X genes are silenced in the developing placenta and early blastocyst. These examples of epigenetic gene regulation commonly employ asynchrony of replication, the binding of polycomb proteins and antisense RNA, and histone modifications to chromatin structure. The same is true for genomic imprinting which among vertebrates is unique to mammals and represents a special kind of epigenetic modification that is heritable according to parent of origin. Genomic imprinting pervades many aspects of mammalian growth and evolution but in particular has played a significant role in the co‐adaptive evolution of the mother and foetus. (shrink)

Imprinted genes are monoallelically expressed in a parent‐of‐origin‐specific manner, but for many genes reported to be imprinted, the occurrence of preferential expression—where both alleles are expressed but one is expressed more strongly than the other in a parent‐of‐origin‐specific way—has been reported. This preferential expression found in genes described as imprinted has not been thoroughly addressed in genomic imprinting studies. To study this phenomenon, 50 genes, reported to be imprinted in the mouse, were chosen for investigation. Preferential expression (...) was observed for 21 of 27 maternally expressed genes. However, only 5 of 23 paternally expressed genes showed preferential expression. Recently, it has been reported that a remarkable proportion of non‐imprinted genes show differential allelic expression. If there is overlap between non‐imprinted genes that are differentially expressed and imprinted genes that are preferentially expressed, we need to set new definitions of imprinted genes that, in turn, would probably lead to reassessments of the total number of imprinted genes in mammalian species. BioEssays 29:1022–1028, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

The process of antigenic variation in parasitic African trypanosomes is a remarkable mechanism for outwitting the immune system of the mammalian host, but it requires a delicate balancing act for the monoallelic expression, folding and transport of a single variant surface glycoprotein (VSG). Only one of hundreds of VSG genes is expressed at time, and this from just one of ≈15 dedicated expression sites. By switching expression of VSGs the parasite presents a continuously shifting antigenic facade (...) leading to prolonged chronic infections lasting months to years. The basics of VSG structure and switching have been known for several decades, but recent studies have brought higher resolution to many aspects this process. New VSG structures, in silico modeling of infections, studies of VSG codon usage, and experimental ablation of VSG expression provide insights that inform how this remarkable system may have evolved. (shrink)

X‐chromosome inactivation ensures dosage compensation between the sexes in mammals by randomly choosing one out of the two X chromosomes in females for inactivation. This process imposes a plethora of questions: How do cells count their X chromosome number and ensure that exactly one stays active? How do they randomly choose one of two identical X chromosomes for inactivation? And how do they stably maintain this state of monoallelic expression? Here, different regulatory concepts and their plausibility are evaluated (...) in the context of theoretical studies that have investigated threshold behavior, ultrasensitivity, and bistability through mathematical modeling. It is discussed how a twofold difference between a single and a double dose of X‐linked genes might be converted to an all‐or‐nothing response and how mutually exclusive expression can be initiated and maintained. Finally, candidate factors that might mediate the proposed regulatory principles are reviewed. (shrink)

Imprinted genes are monoallelically expressed in a parent‐of‐origin‐dependent manner and can affect brain and behavioural phenotypes. The X chromosome is enriched for genes affecting neurodevelopment and is donated asymmetrically to male and female progeny. Hence, X‐linked imprinted genes could potentially influence sexually dimorphic neurobiology. Consequently, investigations into such loci may provide new insights into the biological basis of behavioural differences between the sexes and into why men and women show different vulnerabilities to certain mental disorders. In this review, we summarise (...) recent advances in our knowledge of X‐linked imprinted genes and the brain substrates that they may act upon. In addition, we suggest strategies for identifying novel X‐linked imprinted genes and their downstream effects and discuss evolutionary theories regarding the origin and maintenance of X‐linked imprinting. BioEssays 28:35–44, 2006. © 2005 Wiley Periodicals, Inc. (shrink)

In contrast to the biallelic expression of most genes, expression of genes subject to genomic imprinting is monoallelic and based on the sex of the transmitting parent. Possession of only a single active allele can lead to deleterious health consequences in humans. Aberrant expression of imprinted genes, through either genetic or epigenetic alterations, can result in developmental failures, neurodevelopmental and neurobehavioral disorders and cancer. The evolutionary emergence of imprinting occurred in a common ancestor to viviparous mammals (...) after divergence from the egg‐laying monotremes. Current evidence indicates that imprinting regulation in metatherian mammals differs from that in eutherian mammals. This suggests that imprinting mechanisms are evolving from those that were established 150 million years ago. Therefore, comparing genomic sequence of imprinted domains from marsupials and eutherians with those of orthologous regions in monotremes offers a potentially powerful bioinformatics approach for identifying novel imprinted genes and their regulatory elements. Such comparative studies will also further our understanding of the molecular evolution and phylogenetic distribution of imprinted genes. BioEssays 25:577–588, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

At least since Descartes, philosophers have been interested in the special knowledge or authority that we exhibit when we speak about our own thoughts, attitudes, and feelings. This book contends that even the best work in contemporary philosophy of mind fails to account for this sort of knowledge or authority because it does not pay the right sort of attention to the notion of expression. What's at stake is not only how to understand self-knowledge and first-person authority, but also (...) what it is that distinguishes conscious from unconscious psychological states, what the mental life of a nonlinguistic animal has in common with our sort of mental life, and how to think about Wittgenstein's legacy to the philosophy of mind. (shrink)

Expressivism’s central idea is that normative sentences bear the same relation to non-cognitive attitudes that ordinary descriptive sentences bear to beliefs: the expression relation. Allan Gibbard teIls us that “that words express judgments will be accepted by almost everyone” - the distinctive contribution of expressivism, his claim goes, is only a view about what kind of judgments words express. But not every account of the expression relation is equally suitable for the expressivist’s purposes. In fact, what I argue (...) in this paper, considering four possible accounts of expression, is that how suitable each account is for the expressivist’s purpose varies in proportion to how controversial it is. So Gibbard is wrong - if expression is to get expressivism off the ground, then it will be enormously controversial whether words do express judgments. And thus expressivism is committed to strong claims about the semantics of non-normative language. (shrink)

Sue Campbell reinstates the personal as an important dimension in analytic philosophy of mind. She argues that the category of feelings has a unique role in psychological explanation: the expression of feelings is the attempt to communicate personal significance. To develop a model for affective meaning, the author moves attention away from the classic emotions to feelings that are more personal, inchoate, and idiosyncratic.

In this article I contrast in two ways those conceptions of semantic theory deriving from Richard Montague's Intensional Logic (IL) and later developments with conceptions that stick pretty closely to a far weaker semantic apparatus for human first languages. IL is a higher-order language incorporating the simple theory of types. As such, it endows predicates with a reference. Its intensional features yield a conception of propositional identity (namely necessary equivalence) that has seemed to many to be too coarse to be (...) acceptable. In the most usual expositions, it takes the object of linguistic explication to be the sentence in a context, as in Kaplan, 1977. This last has led to recent speculations about 'shifted' contexts. IL may be contrasted with a more linguistically (representationally) bound conception of propositions and interpretation of their predicational and functional parts, and with the explication, not of sentences in contexts, but of potential utterances, relative to the antecedent referential intentions of their speakers. We may then advance, as an empirical hypothesis about all human languages, that contexts never shift, and propose that apparent counterexamples stem from the misconstrual of linguistically coded anaphoric relations, relations that are wanted independently anyway. Donald Davidson's posthumous volume Truth and Predication mounts a sustained criticism of the notion of predicate reference. This criticism is not decisive. However, it may put the ball in the other court, insofar as it asks for a justification of what IL takes as given. Elaborations of IL using structured propositions, recently defended in King, 2007, recognize the problem of predicate reference, and the correlative issue of the 'unity of the proposition'; but I do not see that they can do better than bite the bullet already bitten in IL. I agree with Frege's insight that full justification of predicate reference pushes the boundaries of natural language, and to that extent may not be found within the semantic (as opposed to general scientific) enterprise. (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without (...) words, literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

We are defined by our faces. They give identity but, equally importantly, reveal our moods and emotions through facial expression. So what happens when the face cannot move? This book is about people who live with Mbius Syndrome, which has as its main feature an absence of movement of the muscles of facial expression from birth.

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

I present two different models of moral responsibility -- two different accounts of what we value in behavior for which the agent can legitimately be held morally responsible. On the first model, what we value is making a certain sort of difference to the world. On the second model, which I favor, we value a certain kind of self-expression. I argue that if one adopts the self-expression view, then one will be inclined to accept that moral responsibility need (...) not require alternative possibilities. (shrink)

We highlight the need to focus on the underlying determinants and production mechanisms to fully understand the nature of facial expression of emotion and to settle the theoretical debate about the meaning of motor expression. Although emotion theorists have generally remained rather vague about the details of the process, this has been a central concern of componential appraisal theories. We describe the fundamental assumptions and predictions of this approach regarding the patterning of facial expressions for different emotions. We (...) also review recent evidence for the assumption that specific facial muscle movements may be reliable symptoms of certain appraisal outcomes and that facial expressions unfold over time on the basis of a sequence of appraisal check results. (shrink)

Rembrandt has been characterized as "the master of the passions of the soul". His painting production has always elicited the viewers' strong emotional responses. Τhese responses raise the question regarding why Rembrandt's work has been singled out as the quintessential example of the expression of emotions both during the 17th century, as well as in recent times. I will try to approach the issue through two different yet interconnected routes. First, I will explore the tools and terms through which (...) the question of the expression of emotions in Rembrandt's oeuvre can be approached. Ancient rhetorical topoi, as well as ideas stemming from Dutch theater writers, drama and art theorists, scholars and art connoisseurs on the rendition of the emotions provide useful points of view. Secondly, I will approach the question by addressing certain stylistic and compositional solutions that Rembrandt suggested, which can be tied to current notions about lifelikeness and the beholder's empathy. Foremost among Rembrandt's aesthetic choices was his handling of light and of paint which accounts for a great deal of unfavorable criticism to his work during the 17th century. I would like to suggest that this handling of light and paint serves as Rembrandt's most important emotive vehicle and furthermore that it introduces us to the idea of wonder and the concept of the sublime in terms of which his depiction of emotions may be understood. Accordingly, I will try to establish an intellectual network in the 17th-century Netherlands for the sublime. (shrink)

In Difference and Repetition, Deleuze claims that it is in virtue of a relation of expression which holds between intensive processes of individuation and virtual Ideas that the former determines the latter to be actualised in concrete entities. He is, however, less than forthcoming in this book about exactly how we should understand the relation of expression. This article addresses itself to this lacuna. It clarifies five characteristic features of the expressive relation, partly by drawing on Deleuze's discussion (...) of the relation of expression in Expressionism in Philosophy, party by examining familiar examples of expressive relations. It then maps these characteristic features of expression onto Deleuze's discussion of the relation between Ideas and intensity in Difference and Repetition, showing that virtual Ideas are ontologically inseparable from the intensive processes that both constitute and actualise them in the production of actual entities. By way of conclusion, this expressive account of the relation between the virtual, the actual and the intensive will be compared and contrasted with several leading accounts to be found in the secondary literature. (shrink)

This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning, the author considers such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the (...) context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression, of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy. (shrink)

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

The first English translation of one of Heidegger's most important early lecture courses, including his most extensive treatment of the topic of destruction.

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there (...) limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Should our commitment to freedom of speech extend to freedom of hate speech: speech that promotes hatred toward an individual or group on the basis of a characteristic such as race, gender, sexuality, nationality, or religion—often, although perhaps not exclusively, using slurs and epithets? Drawing on philosophy of language and empirical research, this essay outlines five theoretical models of how hate speech may function, and explores their implications for this issue. I argue that (some) hate speech can be regulated without (...) compromising freedom of expression; and furthermore that, under certain circumstances, considerations of free speech may favour regulating hate speech. (shrink)

Deleuze and jurisdiction : expressionism in jurisprudence -- Personal jurisdiction : the "method of dramatization" in the law of persons -- Minority and personal jurisdiction : judging sex in re alex -- Persons of animal law -- Deleuze, the law of things and subject-matter jurisdiction -- To put to flight : the right of possession -- The activity of judgment : law of actions and the procedural genre of jurisprudence -- Jurisdiction of control : judgment and procedural forms in Thomas (...) v Mowbray -- The locality of law : jurisdiction in Deleuze. (shrink)

Views the merits of the documentary and examines its use in America during the thirties and early forties.

Leibniz frequently uses the notion of expression, but it is not easy to see just how he understood that relation. This paper focuses on the particular case of the expression of God, which is prominent in the 'Discourse on Metaphysics'. The treatment of expression there suggests several questions. Which substances did Leibniz believe expressed God? Why did Leibniz believe those substances expressed God? And did he believe that all substances expressed God in the same way and for (...) the same reasons? In answering those questions the paper distinguishes two views about expression in the 'Discourse', considers Leibniz's reasons for holding that substances express their causes, and argues that Leibniz's views about emanative causation are important for understanding the unity of his apparently distinct views here. The paper concludes by looking briefly at how the 'Discourse' fits into the evolution of Leibniz's views on this issue over time. (shrink)

Here I present and discuss a model that, among other things, appears able to describe the dynamics of cancer cell origin from the perspective of stable and unstable gene expression profiles. In identifying suchaberrantgene expression profiles as lying outside the normal stable states attracted through development and normal cell differentiation, the hypothesis explains why cancer cells accumulate mutations, to which they are not robust, and why these mutations create a new stable state far from the normal gene (...) class='Hi'>expression profile space. Such cells are in strong contrast with normal cell types that appeared as an attractor state in the gene expression dynamical system under cell‐cell interaction and achieved robustness to noise through evolution, which in turn also conferred robustness to mutation. In complex gene regulation networks, otheraberrantcellular states lacking such high robustness are expected to remain, which would correspond to cancer cells. (shrink)

This study explored a dimensional approach to vocal expression of emotion. Actors vocally portrayed emotions (anger, disgust, fear, happiness, sadness) with weak and strong emotion intensity. Listeners (30 university students and 6 speech experts) rated each portrayal on four emotion dimensions (activation, valence, potency, emotion intensity). The portrayals were also acoustically analysed with respect to 20 vocal cues (e.g., speech rate, voice intensity, fundamental frequency, spectral energy distribution). The results showed that: (a) there were distinct patterns of ratings of (...) activation, valence, and potency for the different emotions; (b) all four emotion dimensions were correlated with several vocal cues; (c) listeners' ratings could be successfully predicted from the vocal cues for all dimensions except valence; and (d) the intensity dimension was positively correlated with the activation dimension in the listeners' ratings. (shrink)

Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. (...) Moreover I propose that the recognition of this intention depends on our interpretation of the artwork – an insight Goodman tried to capture with his assertion that our attributions of expressive properties to artworks function metaphorically. The realisation of the context-dependence of our expressive judgements about art and, hence, of the central role interpretation plays in these judgements, I contend, counts in favour of theories of expression like Goodman’s that focus on semantic concerns. (shrink)

This book features the full scope of Susan Petrilli's important work on signs, language, communication, and of meaning, interpretation, and understanding. Although readers are likely familiar with otherness, interpretation, identity, embodiment, ecological crisis, and ethical responsibility for the biosphere—Petrilli forges new paths where other theorists have not tread. This work of remarkable depth takes up intensely debated topics, exhibiting in their treatment of them what Petrilli admires—creativity and imagination. Petrilli presents a careful integration of divergent thinkers and diverse perspectives. While (...) she abandons hope of attaining a final synthesis or an unqualifiedly comprehensive outlook, there remains a drive for coherence and detailed integration. The theory of identity being advocated in this book will provide the reader with an aid to appreciating the identity of the theorizing undertaken by Petrilli in her confrontation with an array of topics. Her theory differentiates itself from other offerings and, at the same time, is envisioned as a process of self-differentiation. Petrilli's contribution is at once historical and theoretical. It is historical in its recovery of major figures of language; it is theoretical in its articulation of a comprehensive framework. She expertly combines analytic precision and moral passion, theoretical imagination and political commitment. (shrink)