To what extent does perceptual language reflect universals of experience and cognition, and to what extent is it shaped by particular cultural preoccupations? This paper investigates the universality~relativity of perceptual language by examining the use of basic perception terms in spontaneous conversation across 13 diverse languages and cultures. We analyze the frequency of perception words to test two universalist hypotheses: that sight is always a dominant sense, and that the relative ranking of the senses will be the same across different (...) cultures. We find that references to sight outstrip references to the other senses, suggesting a pan-human preoccupation with visual phenomena. However, the relative frequency of the other senses was found to vary cross-linguistically. Cultural relativity was conspicuous as exemplified by the high ranking of smell in Semai, an Aslian language. Together these results suggest a place for both universal constraints and cultural shaping of the language of perception. (shrink)

Low mean fundamental frequency (F 0) in men’s voices has been found to positively influence perceptions of dominance by men and attractiveness by women using standardized speech. Using natural speech obtained during an ecologically valid social interaction, we examined relationships between multiple vocal parameters and dominance and attractiveness judgments. Male voices from an unscripted dating game were judged by men for physical and social dominance and by women in fertile and non-fertile menstrual cycle phases for desirability in short-term and long-term (...) relationships. Five vocal parameters were analyzed: mean F 0 (an acoustic correlate of vocal fold size), F 0 variation, intensity (loudness), utterance duration, and formant dispersion (D f , an acoustic correlate of vocal tract length). Parallel but separate ratings of speech transcripts served as controls for content. Multiple regression analyses were used to examine the independent contributions of each of the predictors. Physical dominance was predicted by low F 0 variation and physically dominant word content. Social dominance was predicted only by socially dominant word content. Ratings of attractiveness by women were predicted by low mean F 0, low D f , high intensity, and attractive word content across cycle phase and mating context. Low D f was perceived as attractive by fertile-phase women only. We hypothesize that competitors and potential mates may attend more strongly to different components of men’s voices because of the different types of information these vocal parameters provide. (shrink)

The reception of Kant began in Croatia at the turn of the 19th century with the writings of J.B. Horváth, whose textbooks were in use at that time in Croatia and Hungary. Unlike Horváth's decidedly negative attitude toward Kant, Šimun Čučić (Simeon Chuchich), in his systematic work Philosophia Critice Elaborata (1815), adopted some aspects of Kantian philosophy. This includes, for example, the formalistic conception of logic, Kantian apriorism and subjectivism, the formalistic approach to the moral law, and the like. However, (...) since these elements were incorporated into a schoolbook type of text, they could not always be consistently implemented. The beginning of the reception of Kant in Croatia coincided with the revival of Croatian national self-awareness. -- Die Kantrezeption setzte in Kroatien an der Wende zum 19. Jahrhundert ein mit den Schriften J. B. Horváths, dessen Lehrbuecher in Kroatien und Ungarn damals in Gebrauch waren. Im Unterschied zu Horváth's ausgeschprochen negativer Einstellung zu Kant hat Šimun Čučić in seinem systematischen Werk Philosophia critice elaborata (1815) einige Aspekte der Kantischen Philosophie uebernommen. Dies betrifft z.B. die formalistische Auffassung der Logik, die Uebernahme des kantianischen Apriorismus und Subjektivismus, die formalistische Auffassungsweise des moralischen Gesetzes und dgl. Da nun diese Momente in ein schulmaeßig konzipiertes Buch aufgenommen wurden, konnten sie nicht immer konsequent durchgefuehrt werden. Der Beginn der Kantrezeption in Kroatien koinzidierte mit der Wiedererweckung des kroatischen nationalen Selbsbewußtseins. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered other. (...) One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)