In this study, we aim to disentangle pantomime from early signs in a newly-born sign language: Sao Tome and Principe Sign Language. Our results show that within 2 years of their first contact with one another, a community of 100 participants interacting everyday was able to build a shared language. The growth of linguistic systematicity, which included a decrease in use of pantomime, reduction of the amplitude of signs and an increase in articulation economy, showcases a learning, and (...) social interaction process that constitutes a continuum and not a cut-off system. The human cognitive system is endowed with mechanisms for symbolization that allow the process of arbitrariness to unfold and the expansion of linguistic complexity. Our study helps to clarify the role of pantomime in a new sign language and how this role might be linked with language itself, showing implications for language evolution research. (shrink)

Although pantomimic scenarios recur in the most important historical as well as current accounts of language origins, a serious problem is the lack of a commonly accepted definition of “pantomime”. We scrutinise several areas of study, from theatre studies to semiotics to primatology, pointing to the differences in use that may give rise to misunderstandings, and working towards a set of definitional criteria of “pantomime” specifically useful for language evolution research. We arrive at a definition of pantomime (...) as a communication mode that is mimetic; non-conventional and motivated; multimodal ; improvised; using the whole body rather than exclusively manual; holistic; communicatively complex and self-sufficient; semantically complex; displaced, open-ended and universal. So conceived, “pantomime” is a near synonym of “bodily-mimetic communication” as envisaged by Donald and Zlatev. On a wider plane, our work may help organise some of the terminology and discussion in language evolution, e.g. by drawing a clear distinction between gestural and pantomimic scenarios or by specifying the relation between pantomimic and multimodal scenarios. (shrink)

This paper assesses great apes’ abilities for pantomime and action imitation, two communicative abilities proposed as key contributors to language evolution. Modern great apes, the only surviving nonhuman hominids, are important living models of the communicative platform upon which language evolved. This assessment is based on 62 great ape pantomimes identified via data mining plus published reports of great ape action imitation. Most pantomimes were simple, imperative, and scaffolded by partners’ relationship and scripts; some resemble declaratives, some were sequences (...) of several inter-related elements. Imitation research consistently shows great apes perform action imitation at low fidelity, but also that action imitation may not represent a distinct process or function. Discussion focuses on how findings may advance reconstruction of the evolution of language, including what great apes may contribute to understanding ‘primitive’ forms of pantomime and imitation and how to improve their study. (shrink)

Pantomime has long been considered distinct from co-speech gesture. It has therefore been argued that pantomime cannot be part of gesture-speech integration. We examine pantomime as distinct from silent gesture, focusing on non-co-speech gestures that occur in the midst of children’s spoken narratives. We propose that gestures with features of pantomime are an infrequent but meaningful component of a multimodal communicative strategy. We examined spontaneous non-co-speech representational gesture production in the narratives of 30 monolingual English-speaking children (...) between the ages of 8- and 11-years. We compared the use of co-speech and non-co-speech gestures in both autobiographical and fictional narratives and examined viewpoint and the use of non-manual articulators, as well as the length of responses and narrative quality. The use of non-co-speech gestures was associated with longer narratives of equal or higher quality than those using only co-speech gestures. Non-co-speech gestures were most likely to adopt character-viewpoint and use non-manual articulators. The present study supports a deeper understanding of the term pantomime and its multimodal use by children in the integration of speech and gesture. (shrink)

It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of (...) the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched. (shrink)

A persistent controversy in language evolution research has been whether language emerged in the gestural-visual or in the vocal-auditory modality. A “dialectic” solution to this age-old debate has now been gaining ground: language was fully multimodal from the start and remains so to this day. In this paper, we show this solution to be too simplistic and outline a more specific theoretical proposal, which we designate as pantomime-first. To decide between the multimodal-first and pantomime-first alternatives, we review several (...) lines of interdisciplinary evidence and complement it with a cognitive-semiotic experiment. In the study, the participants saw – and then matched to hand-drawn images – recordings of short transitive events enacted by 4 actors in two conditions: visual and multimodal. Significantly, the matching accuracy was greater in the visual than the multimodal condition, though a follow-up experiment revealed that the emotional profiles of the events enacted in the multimodal condition could be reliably detected from the sound alone. We see these results as supporting the proposed pantomime-first scenario. (shrink)

What lies on the two sides of the linguistic divide is fairly clear: On one side, you have organisms buffeted about to varying degrees, depending on their degree of autonomy and plasticity, by the states of affairs in the world they live in. On the other side, you have organisms capable of describing and explaining the states of affairs in the world they live in. Language is what distinguishes one side from the other. How did we get here from there? (...) In principle, one can tell a seamless story about how inborn, involuntary communicative signals and voluntary instrumental praxis could have been shaped gradually, through feedback from their consequences, first into analog pantomime with communicative intent, and then into arbitrary category names combined into all powerful, truth value bearing propositions, freed from the iconic "shape" of their referents and able to tell all. (shrink)

One of the most basic functions of human language is to convey who did what to whom. In the world's languages, the order of these three constituents (subject [S], verb [V], and object [O]) is uneven, with SOV and SVO being most common. Recent experiments using experimentally elicited pantomime provide a possible explanation of the prevalence of SOV, but extant explanations for the prevalence of SVO could benefit from further empirical support. Here, we test whether SVO might emerge because (...) (a) SOV is not well suited for describing reversible events (a woman pushing a boy) and (b) pressures to be efficient and mention subjects before objects conspire to rule out many other alternatives. We tested this by asking participants to describe reversible and non‐reversible events in pantomime, and we instructed some participants to be consistent in the form of their gestures and to teach them to the experimenter. These manipulations led to the emergence of SVO in speakers of both English (SVO) and Turkish (SOV). (shrink)

The article examines Diderot’s view of the inconstancy of nature and its corollaries, the most obvious of which is the recognition of the impossibility of philosophy and natural history. For, if everything in nature is in a state of flux, no theory can keep up with its changes, reflect on them and capture anything more than an isolated moment. Diderot’s conception of nature has important consequences for his aesthetic theory. If the goal of the fine arts is to imitate nature, (...) and if everything in nature undergoes constant change, does it not mean that art—no less than philosophy and natural history—is also impossible? By focusing on Diderot’s novel Rameau’s Nephew, I argue that the lesson of the numerous mimes its eponymous hero performs in the novel is that the dynamics of nature can perhaps only be captured by mime rather than on canvas or in stone, both of which, as Diderot puts it, can represent only a fleeting moment. (shrink)

When athletes make significant plays in sporting competitions, such as scoring a goal in soccer, a touchdown in American football, they often immediately express their joy by performing some bodily action for others to see and understand. Many sports celebrations are staged pantomimes that express metaphorical meanings as a part of athletes’ pretending to perform certain source-path-goal sequences of action from other competitive events. This article examines the possible metaphoricity in different sports celebrations and whether casual observers may understand these (...) actions as conveying metaphorical messages. Studies 1 and 3 present analyses of some of the important, possibly metaphorical, characteristics of a corpus of sports celebrations, both those that are performed by individual athletes (Study 1) and those where several athletes jointly enact some celebratory action (Study 3). Studies 2 (individual athletes) and 4 (group performances) investigated whether casual spectators interpret some celebrations as conveying metaphorical messages beyond simply expressing an athlete’s positive emotions. These studies demonstrate that many sports celebrations express metaphorical meanings where athletes provide bodily commentary on the significance of what they have just accomplished. (shrink)

This paper aims to investigate the kinaesthetic experience of dance, and especially of pantomime dance in Lucian’s De Saltatione and in Libanius’ oration 64, A Reply To Aristides On Behalf Of The Dancers, from the perspective of the mechanical. Specifically, pantomime will be discussed in juxtaposition with the concept of mechanical automation. Until now, this aspect remains unexplored; however, this is of great importance, particularly if we take into consideration that from the Hellenistic period onwards theatrical automata and (...) processions with engineered artefacts were considered to be a popular entertainmentmechanism and, as such, they exerted great influence on the public’s aesthetic. In this respect, I intend first to survey the concept of pantomimic mimesis as a mechanical reproduction of motion, i.e. gestures and postures. Next, I shall detect the vocabulary of mechanisms/mechanisms’ function that is generally embedded in dance rhetoric by examining forced motion both in pantomime and ancient mechanics. (shrink)

When we reach to pick up an object, our actions are effortlessly informed by the object’s spatial information, the position of our limbs, stored knowledge of the object’s material properties, and what we want to do with the object. A substantial body of evidence suggests that grasps are under the control of “automatic, unconscious” sensorimotor modules housed in the “dorsal stream” of the posterior parietal cortex. Visual online feedback has a strong effect on the hand’s in-flight grasp aperture. Previous work (...) of ours exploited this effect to show that grasps are refractory to cued expectations for visual feedback. Nonetheless, when we reach out to pretend to grasp an object (pantomime grasp), our actions are performed with greater cognitive effort and they engage structures outside of the dorsal stream, including the ventral stream. Here we ask whether our previous finding would extend to cued expectations for haptic feedback. Our method involved a mirror apparatus that allowed participants to see a “virtual” target cylinder as a reflection in the mirror at the start of all trials. On “haptic feedback” trials, participants reached behind the mirror to grasp a size-matched cylinder, spatially coincident with the virtual one. On “no-haptic feedback” trials, participants reached behind the mirror and grasped into “thin air” because no cylinder was present. To manipulate haptic expectation, we organized the haptic conditions into blocked, alternating, and randomized schedules with and without verbal cues about the availability of haptic feedback. Replicating earlier work, we found the strongest haptic effects with the blocked schedules and the weakest effects in the randomized uncued schedule. Crucially, the haptic effects in the cued randomized schedule was intermediate. An analysis of the influence of the upcoming and immediately preceding haptic feedback condition in the cued and uncued random schedules showed that cuing the upcoming haptic condition shifted the haptic influence on grip aperture from the immediately preceding trial to the upcoming trial. These findings indicate that, unlike cues to the availability of visual feedback, participants take advantage of cues to the availability of haptic feedback, flexibly engaging pantomime, and natural modes of grasping to optimize the movement. (shrink)

L’article propose un nouvel examen de FD III 2, 106 visant à rendre son identité à l’Athénien Pyladès dit aussi Olympios. La transcription en vers du décret de Delphes lui accordant la citoyenneté fut, dès la première publication, à l’origine de confusions qui firent de ce citoyen, trop soucieux de distinction – il ne s’était point satisfait du banal résumé en usage – un pantomime honoré pour ses prestations à Olympie et à Delphes et dûment enregistré comme tel dans (...) des recueils prosopographiques professionnels et ethniques. (shrink)

Gestural and pantomimic accounts of language origins propose that language did not develop directly from ape vocalisations, but rather that its emergence was preceded by an intervening stage of bodily-visual communication, during which our ancestors communicated with their hands, arms, and the entire body. Gestural and pantomimic scenarios are again becoming popular in language evolution research, but this line of thought has a long and interesting history that gained special prominence in the Enlightenment, often considered the golden age of glottogony. (...) We highlight several themes key to this line of reflection, such as the idea of innate communication that consists of visual bodily signs and non-linguistic vocalisations; the division of labour between these two semiotic resources ; or the developmental trajectory of this bi-modal system of communication determined by its transmission through generations of users and the intervention of social factors. We confront these ideas with problems discussed in current language evolution research, focusing on polysemioticity, sign function, conventionality and modality transition. (shrink)

Twenty-four aphasic and fifteen right brain-damaged subjects were compared on their ability to identify the objects whose use was depicted in a series of twenty videotaped pantomimes. Aphasics were inferior to right brain-damaged patients in inferring object use. Success was correlated with Performance IQ, but not with language measures. Analysis of movement features contributing to subjects' choices reveal speed of movement and object weight to be the most robust and hand shape and size to be the most fragile.

In letter 7.24 Pliny provides his readers with a character sketch of the elderly matriarch of a distinguished and wealthy Italian family-Ummidia Quadratilla. Ummidia passed her later years as a fan of the theater; specifically, "she had pantomimes." Pliny disapproves of the shows presented by these performers, and he chastises Ummidia for her interest in pantomime. In fact he views her conduct as symptomatic of a vice among women in general: "I have heard that she herself used to relax (...) her mind with checkers or watch her pantomimes, as women do in the idleness of their sex." We should not be surprised by these comments; there was a tradition of ambivalence among the Romans toward the professions of the theater, and when women became involved with these professions, the ambivalence could turn to contempt. Given the general disposition of Roman males toward pantomime and women, modern readers should not so readily accept Pliny's assessment. By training her slaves as pantomimes, Ummidia was greatly increasing their value. From numerous ancient sources we know that the monetary value of slaves trained in the theatrical professions was among the highest accorded any slave. Moreover, because of Ummidia's endowment of a theater in her native Casinum and the performance of Ummidia's pantomimes in public games, we might say that she was the manager of a small "theatrical empire." Finally, because of the great interest in pantomime on the part of the masses and the desire of the upper classes, including members of various imperial families, to soothe these masses with games, control of popular pantomimes might have given Ummidia access to limited political power. (shrink)

Plotinus was a Neoplatonist philosopher, his work posthumously published by Porphyry and divided into six books, nine tractates each, called the Enneads. This book investigates Plotinian "emanation," its laws of poiesis and the roles of nature, matter, logos, and contemplation.

Evidence from adult studies of deaf signers supports the dissociation between neural systems involved in processing visual linguistic and non-linguistic body actions. The question of how and when this specialization arises is poorly understood. Visual attention to these forms is likely to change with age and be affected by prior language experience. The present study used eye-tracking methodology with infants and children as they freely viewed alternating video sequences of lexical American sign language (ASL) signs and non-linguistic body actions (self-directed (...) grooming action and object-directed pantomime). In Experiment 1, we quantified fixation patterns using an area of interest (AOI) approach and calculated face preference index (FPI) values to assess the developmental differences between 6 and 11-month-old hearing infants. Both groups were from monolingual English-speaking homes with no prior exposure to sign language. Six-month-olds attended the signer’s face for grooming; but for mimes and signs, they were drawn to attend to the “articulatory space” where the hands and arms primarily fall. Eleven-month-olds, on the other hand, showed a similar attention to the face for all body action types. We interpret this to reflect an early visual language sensitivity that diminishes with age, just before the child’s first birthday. In Experiment 2, we contrasted 18 hearing monolingual English-speaking children (mean age of 4.8 years) vs. 13 hearing children of deaf adults (CODAs; mean age of 5.7 years) whose primary language at home was ASL. Native signing children had a significantly greater face attentional bias than non-signing children for ASL signs, but not for grooming and mimes. The differences in the visual attention patterns that are contingent on age (in infants) and language experience (in children) may be related to both linguistic specialization over time and the emerging awareness of communicative gestural acts. (shrink)

Several lines of research within developmental psychology, experimental semiotics and language origins studies have recently converged in their interest in pantomime as a system of bodily communication distinct from both language (spoken or signed) and nonlinguistic gesticulation. These approaches underscore the effectiveness of pantomime, which despite lack of semiotic conventions is capable of communicating complex meanings. However, very little research is available on the structural underpinnings of this effectiveness, that is, the specific properties of pantomime that determine (...) its communicative success. To help fill in this gap, we conducted an exploratory rating study aimed at identifying those properties of pantomime that facilitate its understanding. We analysed an existing corpus of 602 recordings of whole-body re-enactments of short transitive events, coding each of them for 6 properties, and found out that the presence of salient elements (conspicuous objects in a specific semantic space), image mapping (representing the physical orientation of the object), and gender markers (distinguishing between the represented characters) increased the guessability of pantomimes. (shrink)

The article analyzes the neural and functional grounding of language skills as well as their emergence in hominid evolution, hypothesizing stages leading from abilities known to exist in monkeys and apes and presumed to exist in our hominid ancestors right through to modern spoken and signed languages. The starting point is the observation that both premotor area F5 in monkeys and Broca's area in humans contain a “mirror system” active for both execution and observation of manual actions, and that F5 (...) and Broca's area are homologous brain regions. This grounded the mirror system hypothesis of Rizzolatti and Arbib (1998) which offers the mirror system for grasping as a key neural “missing link” between the abilities of our nonhuman ancestors of 20 million years ago and modern human language, with manual gestures rather than a system for vocal communication providing the initial seed for this evolutionary process. The present article, however, goes “beyond the mirror” to offer hypotheses on evolutionary changes within and outside the mirror systems which may have occurred to equip Homo sapiens with a language-ready brain. Crucial to the early stages of this progression is the mirror system for grasping and its extension to permit imitation. Imitation is seen as evolving via a so-called simple system such as that found in chimpanzees (which allows imitation of complex “object-oriented” sequences but only as the result of extensive practice) to a so-called complex system found in humans (which allows rapid imitation even of complex sequences, under appropriate conditions) which supports pantomime. This is hypothesized to have provided the substrate for the development of protosign, a combinatorially open repertoire of manual gestures, which then provides the scaffolding for the emergence of protospeech (which thus owes little to nonhuman vocalizations), with protosign and protospeech then developing in an expanding spiral. It is argued that these stages involve biological evolution of both brain and body. By contrast, it is argued that the progression from protosign and protospeech to languages with full-blown syntax and compositional semantics was a historical phenomenon in the development of Homo sapiens, involving few if any further biological changes. Key Words: gestures; hominids; language evolution; mirror system; neurolinguistics; primates; protolanguage; sign language; speech; vocalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Fool’s Truth: Diderot, Goethe, and HegelJames SchmidtI. Of the many works that crossed from France into Germany during the “long” eighteenth century, none took as circuitous a route as Rameau’s Nephew. Begun by Diderot in 1761 but never published during his lifetime, the dialogue was among the works sent to Catherine the Great after his death in 1784. A copy of the manuscript was brought to Jena late (...) in 1804, where it was read by Schiller and passed on to Goethe, who immediately set about translating it into German. Goethe’s translation was published in the Spring of 1805 but, as Goethe later complained, made little impact on the German reading public. 1 There was, however, one notable exception: Georg Wilhelm Friedrich Hegel.Hegel’s interpretation of Diderot’s dialogue in his 1807 Phenomenology of Spirit has long been an topic of considerable interest. Marxists—and, for that matter, Marx himself—have regarded the Phenomenology’s discussion of Diderot as illustrative of Hegel’s interest in the social and economic foundations of modern society. 2 For Lionel Trilling, it marked an important step in the genesis of the modern ideal of “authenticity.” 3 More recently, the tensions between Diderot’s “dialogizing” of the Enlightenment and the [End Page 625] Hegelian dialectic have been explored by a number of commentators. 4 Less attention, however, has been paid to the fact that the words Hegel appropriated were not, strictly speaking, Diderot’s, but rather came from Goethe’s translation. 5 Before Rameau’s Nephew could appear in the pages of Hegel’s Phenomenology, it first passed into German in a translation that, no less than Hegel, inserted the text into a rather different context from the one in which it had originated.A consideration of Hegel’s appropriation of Rameau’s Nephew thus involves us in questions about the transporting, translating, and transposing of works across borders, languages, and genres. I will begin by examining briefly how Goethe went about presenting an eighteenth century French text to a nineteenth-century German audience. I will then explore, at greater length, how Hegel went about situating this most peculiar of dialogues into his most baffling of books. Finally, I will reflect on some of the tensions between what Diderot wrote and what Hegel attempted to do with it.II. “Now, think of a city like Paris,” Goethe told Eckermann, bemoaning the “isolated, miserable sort of life” to which German intellectuals had been condemned. In Paris one could find “all of the leading minds of a great kingdom all together at the same spot, mutually instructing and advancing one another through daily contact, conflict, and rivalry.” The leading German intellectuals, in contrast, were scattered about: “There is one in Vienna, another in Berlin, another in Königsberg, another in Bonn or Düsseldorf, all fifty to a hundred miles away from each other, so that personal contact and personal exchange of ideas count as rare events.” In Paris “the best from the realms of nature and art from throughout the world lies open for daily inspection,” while “every passage over a bridge or a square recalls a mighty past” and “every street corner has evolved into a piece of history.” It was a city where “men such as Molière, Voltaire, Diderot, and the like have kept up a current of intellect such as has not been found in a single spot anywhere else in the entire world.” 6 Weimar, quite clearly, was not Paris.Rameau’s Nephew was so thoroughly a creature of Paris that the mere thought of rendering it into German might have dismayed a weaker soul than Goethe. Moi and Lui begin a conversation at the Café de la Régence that will [End Page 626] lead them from discussions of the contest between French and Italian styles in music to a consideration of the prospects for human autonomy. In between they will pass over such matters as the social utility of geniuses, the tension between aesthetics and morality, the proper upbringing of children, and the structure of social dependency, pausing from time to time as Lui loses himself in increasingly wilder pantomimes. Along the way... (shrink)

Étienne Souriau a classé les Sept arts - dans son livre : La Correspondance des arts, Eléments d'esthétique comparée,1969. - en distinguant entre leurs caractéristiques sensorielles. Chaque classe peut produire un art sur deux niveaux : représentative/abstraite, c'est-à-dire ; sculpture/architecture. dessin/arabesque. peinture représentative/peinture pure. musique dramatique ou descriptive/musique. pantomime/danse. littérature et poésie/prosodie pure. cinéma et lavis photo/éclairage projections lumineuses.

The use of sacrificial animal blood in the Hebrew Bible has generated much discussion. While various scholars have attempted to explain the significance of these blood rites, each of these attempts has proved problematic. The current paper employs mimetic theory to develop a more robust and plausible model for exploring biblical animal sacrifice. Using the Passover ritual as a model, I develop a model of sacrificial blood rites as pantomimes of mimetic violence. These pantomimes re-create a violent yet transformative crisis (...) from the community's collective memory. Such rituals allow the community to enter into and re-experience the cleansing violence of a mimetic crisis, albeit in a more controlled manner. Through these pantomimes, the community attempts to appease the primitive sacred's blood lust and re-discover the divine blessing secured through the original crisis. This model may prove helpful when applied to more opaque examples of biblical blood manipulation. (shrink)