This volume includes a step-by-step textual commentary on Jean-Jacques Rousseau s first and second critical discourses on civilization. Rousseau s thesis is that man has become progressively alienated from his own nature and thus perverted by technological and scientific progress. The example of Rousseau shows that critical reflection on modern civilization had already begun during the Enlightenment.".

High‐fidelity binding of transcription factors (TFs) to DNA target sites is fundamental for proper regulation of cellular processes, as well as for the maintenance of cell identity. Recognition of cognate binding motifs in the genome is attributed by and large to the DNA binding domains of TFs. As an additional mode of conferring binding specificity, noncoding RNAs (ncRNAs) have been proposed to assist associated TFs in finding their binding sites by interacting with either DNA or RNA in the vicinity of (...) their target loci. However, a well‐documented example of such a mechanism was lacking until we recently reported that a ncRNA made by Epstein‐Barr virus uses an RNA–RNA interaction with nascent transcripts generated from the viral genome to facilitate the recruitment of an interacting TF, PAX5, to viral DNA. This proof‐of‐principle finding suggests that cellular ncRNAs may likewise function in guiding interacting TFs to chromatin target sites. (shrink)

From French miniature paintings to the work of Pope Pius II, this collection of essays explores the philosophical history behind medieval European art. The essays reveal how a visual vocabulary was established among French miniature painters to express the concepts of personal identity and alterity in their work and how Pope Pius II helped spread these metaphysical ideologies across the eastern Christian world. An exhaustive and articulate guide to European art in the Middle Ages, this book is essential reading for (...) art students and enthusiasts alike. (shrink)

The “rediscovery” of landscapes in the 14 th Century marks one of the great innovations in western European painting. For centuries the theme of landscape was of little interest. Of course landscapes existed as scenic or narrative elements, but painters never aspired to a mimetic description of a particular landscape. However motifs of landscape do appear as signs embedded in a long formal and also literary tradition. For example, a single mountain or a single tree can function iconically by representing (...) as an entire forest or landscape tout court. Often a single mountain merely signifies the locus of a narrative action, but the appearance in the picture of mountain landscape opens a wider field of meanings. Mountains are – in Greek mythology as well as in the biblical tradition – places of the appearance of God, they are places of inspiration, of passion and of asceticism. Indeed, in some pictures a close relationship unfolds between actor and mountain. Nature gains vivid emotions and assumes an active role, which often surpasses that of humans. In these cases the mountain may suffer with the hero, may augment the sense of pride associated with victory, or may even vicariously outperform him. These different meanings of the mountain are explored through exemplars drawn mainly from medieval illuminated manuscripts. (shrink)

Name der Zeitschrift: Cognitive Linguistics Jahrgang: 27 Heft: 1 Seiten: 137-145.