Covert speech is accompanied by a subjective multisensory experience with auditory and kinaesthetic components. An influential hypothesis states that these sensory percepts result from a simulation of the corresponding motor action that relies on the same internal models recruited for the control of overt speech. This simulationist view raises the question of how it is possible to imagine speech without executing it. In this perspective, we discuss the possible role played by motor inhibition during covert speech production. We suggest that (...) considering covert speech as an inhibited form of overt speech maps naturally to the purported progressive internalization of overt speech during childhood. We further argue that the role of motor inhibition may differ widely across different forms of covert speech and that considering this variety helps reconciling seemingly contradictory findings from the neuroimaging literature. (shrink)

Simone Martini’s panel painting of St Ladislas of Hungary, founder of the Árpád dynasty and a prototypical crusading knight, attests to the transnational character of Filippo Sangineto’s patronage in Santa Maria della Consolazione, Altomonte (Calabria). The attribution to Sangineto, count of Altomonte and seneschal of Provence, has long been debated, but he is agreed to have been a formidable patron with an ambitious plan for Altomonte. Like many Italian royals, aristocrats, cardinals, and merchants, Filippo commissioned artworks to Sienese artists (...) in Avignon. This study’s approach also sheds light on the iconography as the choice of Ladislas can be connected to the Crusade of Smyrna (1343-1345). The article proposes a reconstruction of Santa Maria della Consolazione, with two small, matching polyptychs set against the screen, one by Bernardo Daddi (two wings survive in Altomonte) and the other by Simone, composed of the painting of Ladislas and the Phillips Collection’s Christ on the Cross. (shrink)

The Netherne Hospital in Surrey is perhaps the most prestigious site in the history of British art therapy, associated with the key figures Edward Adamson and Eric Cunningham Dax, whose pioneering work involved the setting-up of a large studio for psychiatric patients to create expressive paintings. What is little-known, however, is the work of the designated scientist for psychiatric research, Hungarian Jewish émigré Francis Reitman, who was charged with an overall scientific analysis of the artistic products of the studio. Schooled (...) in the biological psychiatric tradition of Ladislas J. Meduna in Budapest prior to his exile to the Maudsley Hospital in 1938 – and committed to treatments such as leucotomy and electro-convulsive therapy (ECT) – Reitman was an unusual candidate for research into the unconscious processes behind art and psychosis. Yet he authored two highly popular and widely reviewed books on his analyses of the abundant artistic output created by patients with schizophrenic diagnoses at the Netherne. In his Psychotic Art (1950) and Insanity, Art and Culture (1954), Reitman compared such schizophrenic images with those produced by artists under the influence of mescaline and examined the artistic output of patients having undergone leucotomy. This article draws on archival materials and Reitman’s original research publications in order to reconstruct his theory of schizophrenic art within the complex context of postwar British psychiatry, negotiating as he did between biologically reductive understandings of Freudian and Jungian psychoanalytic categories, and ultimately synthesizing concepts from both. It also analyses Reitman’s implicit theory of the therapeutic mechanism of art in the treatment of psychiatric patients. (shrink)