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)

Diese Festschrift zum 65. Geburtstag des Bonner Sinologen Rolf Trauzettel (1995) enthalt Beitrage aus Sinologie, Philosophie, Orientalistik, Religionswissenschaft und Germanistik.

Esistono un vuoto negativo e un vuoto positivo. Il primo origina oppressione, il secondo si pone come spazio aperto al possibile, ed è questo il vuoto che l’arte cinese esprime: la possibilità del diverso, l’incompletezza dell’esistente, la parzialità del Primordiale che si dà in un’immagine, in una pennellata, in un suono o in una parola che è sempre senza forma definita.

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)

The first-ever English translation of one of the most important metaphysical works of the 20th century: "Of Cosmogonic Eros" by the German visionary Ludwig Klages. This monograph is dedicated entirely to an in-depth examination of the mysteries of Eros and the most powerful forms of ecstasy. "Of Cosmogonic Eros" greatly impressed and influenced thinkers and artists like Walter Benjamin and Alfred Kubin but also German esoteric circles and literaries such as the great Hermann Hesse who wrote that in this (...) book “the nearly unutterable has been forged into words”. This first English edition of "Of Cosmogonic Eros" also features a substantial contextualized introduction by Professor Paul Bishop of the University of Glasgow. (shrink)

The bookplate which Bruno Schulz designed in 1919 for his friend, Stanisław Weingarten, anticipates the motifs of his later literary work: a book, the Book, a collection of books reflecting the collector’s preferences but dependent on the laws undermining the notions of authorship and ownership. Standing on the margin of the artistic and literary scene, Pierrot/schulz acknowledges the relatedness of his and Weingarten’s “private“ vision with the recurrent, universal themes of world art and literature. The scene designed for the emblem (...) of Weingarten’s library demonstrates Schulz’s awareness that the pleasure of discovering spaces of textual cross-fertilizations belongs to the realm of discoveries made by “standard” narratives of psychoanalysis. The scene also demonstrates Schulz’s readiness to imaginatively play with that awareness. The essay traces correspondences between the elements of the 1919 Pierrot ex-libris and the books from Weingarten’s collection which, with time, included and gave privileged position to the works of Bruno Schulz. Among the authors referred to are Rainer Maria Rilke, Alfred Kubin, and Jules Laforgue. (shrink)

Die Welt ist alles, was wir in unseren naturwissenschaftlichen Theorien beschreiben können – so eine weit verbreitete Überzeugung, die seit den Tagen des Positivismus unser Weltbild bestimmt. Aber reicht das tatsächlich schon aus? Wer sich am Ideal der wissenschaftlichen Erkenntnis orientiert, neigt dazu, viele nicht-begriffliche Erfahrungsformen zu unterschlagen, die uns aus dem Alltag vertraut sind: Symbolsysteme wie Musik, Literatur oder Bilder, Instanzen der unmittelbaren Erfahrung wie Anschauung, Wahrnehmung oder Gefühl und den Bereich des praktischen Könnens. In der Regel sind wir (...) nicht in der Lage, den Gehalt dieser Phänomene vollständig begrifflich wiederzugeben. Dennoch ist das weite Feld des Nichtbegrifflichen eine unverzichtbare Voraussetzung unserer Sätze und Gedanken: Ohne Kunst, Wahrnehmung und Handeln gibt es kein Denken, keine Wissenschaft, keine Philosophie. Der Band geht der Vielfalt des Nicht-Begrifflichen in ästhetischen, symboltheoretischen und semantischen Untersuchungen nach. Aus ihnen ergibt sich ein umfassender systematischer Überblick über eines der spannendsten und offensten Problemfelder der aktuellen philosophischen Debatte. Mit Beiträgen von: Andreas Bartels, Uwe Baumann, Volker Beeh, Gottfried Boehm, Olaf Breidbach, Joachim Bromand, Gottfried Gabriel, Markus Gabriel, Ernest Wolf Gazo, Annemarie Gethmann-Siefert, Jürgen Goldstein, Jens Halfwassen, Thomas Sören Hoffmann, Wolfgang Harms, Jochen Hörisch, Peter Janich, Guilherme F. R. Kisteumacher, Jakub Kloc-Konkolowicz, Imi Knoebel, Theo Kobusch, Klaus-M. Kodalle, Sibylle Krämer, Guido Kreis, Wolfgang Kubin, Sönke Lorenz, Antonio Cota Marçal, Aliasghar Mosleh, Theodoros Penolidis, Dominik Perler, Hans-Joachim Pieper, Andrzej Przylebski, Birgit Sandkaulen, Matthias Schmoeckel, Oswald Schwemmer, Josef Simon, Pirmin Stekeler-Weithofer, Dieter Teichert, Kai Vogeley, Gottfried Willems und Gereon Wolters. (shrink)