Authentic

Authentic (pronounced aw-then-tik)

(1) Something not false or copied; genuine; real.

(2) Having an origin supported by unquestionable evidence; authenticated; verified: with certified provenance.

(3) Representing one’s true nature or beliefs; true to oneself or to the person identified.

(4) Entitled to acceptance or belief because of agreement with known facts or experience; reliable; trustworthy.

(5) In law, executed with all due formalities; conforming to process.

(6) In music (of a church mode and most often applied to the Gregorian chant), having a range extending from the final to the octave above.

(7) In music (of a cadence), progressing from a dominant to a tonic chord.

(8) In musical performance, using period instruments and historically researched scores and playing techniques in an attempt to perform a piece as it would have been played at the time it was written (or in certain cases, first performed).

(9) Authoritative; definitive (obsolete).

1300–1350: From the Middle English authentik & autentik (authoritative, duly authorized (a sense now obsolete)), from the Old French autentique (authentic; canonical (from which thirteenth century Modern French gained authentique)), from the Late Latin authenticus (the work of the author, genuine ( which when used as a neuter noun also meant “an original document, the original”), from the Ancient Greek αὐθεντικός (authentikós) (original, primary, at first hand), the construct being αὐθέντης (authéntēs) (lord, master; perpetrator (literally, “one who does things oneself; one who acts independently (the construct being aut(o-) (self-) + -hentēs (doer)) + -ikos (–ic) (the adjective suffix)), from the primitive Indo-European root sene- (to accomplish, to achieve).  The alternative spellings authentical, authentick, authenticke & authentique are all archaic.  Authentic is an adjective (and a non-standard noun), authentically is an adverb, authenticity & authentification are nouns, authenticate, authenticating & authenticated are verbs; the most common noun plural is authentifications.

The modern sense of something “real, entitled to acceptance as factual” emerged in the mid-fourteenth century and synonyms (depending on context) include true, veritable, genuine, real, bonafide, bona fide, unfaked, reliable, trustworthy, credible & unfaked.  As antonyms (the choice of which will be dictated by context and sentence structure) the derived adjectives include: non-authentic, inauthentic & unauthentic (the three usually synonymous but nuances can be constructed depending on the context) and the curious quasi-authentic, used presumably to suggest degrees of fakeness, sincerity etc).  Inauthentic from 1783 is the most often used and thus presumably the preferred form and in this it competes also with phony, fake, faux, bogus, imitation, clone, impersonation, impression, mimic, parody, reflection, replica, tribute, reproduction, apery, copy, counterfeit, ditto, dupe, duplicate, ersatz, forgery, image, likeness, match, mime, mimesis, mockery, parallel, resemblance, ringer, semblance, sham, simulacrum, simulation, emulation, takeoff, ripoff, transcription, travesty, Xerox, aping, carbon copy, echo, match, mirror, knockoff, paraphrasing, parroting, patterning, representation & replica & the rare ingenuine.  The verb authenticate (verify, establish the credibility of) dates from the 1650s and was from the Medieval Latin authenticatus, the past participle of authenticare, from the Late Latin authenticus; the form of use in the mid seventeenth century was sometimes “render authentic”.  The noun authenticity (the quality of being authentic, or entitled; acceptance as to being true or correct) dates from the 1760 and replaced the earlier authentity (1650s) & authenticness (1620s).

Beware of the inauthentic: The authentic Lindsay Lohan (left) and the Grand Theft Auto's (GTA 5) ersatz (right), a mere "generic young woman".

Concurring with the 2016 ruling of the New York County Supreme Court which, on appeal, also found for the game’s makers, the judges, as a point of law, accepted the claim a computer game’s character "could be construed a portrait", which "could constitute an invasion of an individual’s privacy" but, on the facts of the case, the likeness was "not sufficiently strong".  The “… artistic renderings are an indistinct, satirical representation of the style, look and persona of a modern, beach-going young woman... that is not recognizable as the plaintiff" Judge Eugene Fahey wrote in his ruling.  Ms Lohan’s lawyers did not seek leave to appeal.

Real & fake appears as simple and obvious a dichotomy as black & white but humanity has managed over the millennia to create many grey areas in many shades, thus the wealth of antonyms and synonyms for “authentic”.  Authentic now carries the connotation of an authoritative confirmation (which can be formalized as a process which culminates with the issue of a “certificate of authenticity” although the usefulness of that of course depends on the issuing authority being regarded as authentic.  Genuine carries a similar meaning but in a less formalized sense and in some fields (such as the art market), something can simultaneously be genuine yet not authentic (a painting might for example be a genuine seventeenth century oil on canvas work yet not be the Rembrandt it was represented to be; it’s thus not authentic).  The word real is probably the most simple term of all and can often be used interchangeably but unless what’s being described is unquestionable “real” in every sense, more nuanced words may be needed.  Veritable was from the Middle French veritable, from the Old French veritable, from the Latin veritabilis, from vēritās (truth), the construct being vērus (true; real) +‎ -tās (the suffix used to form abstract nouns).  The traditional of use in English however means veritable had become an expression of admiration (eg “she is a veritable saint”) rather than a measure of truthfulness or authenticity.

Other nuances also organically have evolved.  Authentic now implies the contents of the thing in question correspond to the facts and are not fictitious while genuine implies that whatever is being considered is something unadulterated from its original form although what it contains may in some way be inauthentic.  This is serviceable and as long as it’s not used in a manner likely to mislead is a handy linguistic tool but as Henry Fowler (1858–1933) noted in his A Dictionary of Modern English Usage (1926), it was an artificial distinction, “…illustrated by the fact that, “genuine” having no verb of its own, “authenticate” serves for both”.

Degrees of authenticity: 2016 Jaguar XKSS (continuation series)

In 2016 Jaguar displayed the first of nine XKSS "continuation" models.  In 1957, Jaguar had planned a run of 25 XKSSs which were road-going conversions of the Le Mans-winning D-type (1954-1956).  Such things were possible in those happier, less regulated times.  However, nine of the cars earmarked for export to North America were lost in fire so only 16 were ever completed.  These nine, using the serial numbers allocated in 1957 are thus regarded as a "continuation of the original run" to completion, Jaguar insisting it is not "cloning itself".  The project was well-received and the factory subsequent announced it would also continue the production run of the lightweight E-Types, again using the allocated but never absorbed ID numbers.  Other manufacturers, including Aston Martin, have embarked on their own continuation programmes and at a unit cost in excess of US$1 million, it's a lucrative business.

In the upper (or at least the most obsessional) reaches of the collector car market, the idea of “authenticity” is best expressed as “originality”.  As early as the 1950s when the market began to the process of assuming its present form, originality was valued because many of the pre-war machines first to attract interest (Bentley, Rolls-Royce, Lagonda et al from the UK, Duisenberg, Stutz, Cadillac et al from the US and Mercedes-Benz, Isotta Fraschini, Bugatti et al from Europe) had over the years receive different coachwork from that which was originally supplied.  At the time however, the contemporary records suggest that if a rakish new body had replaced something dowdy, it was a matter for comment rather than objection.  Nor were replacement engines and transmissions thought objectionable as long as they replicated the originals, there then being an understanding things wear out.  Those mechanical components were however among the first to come to the attention of the originality police and “matching numbers” became a thing, every stamped component with a serial number (engine blocks & heads, transmission cases, differential housings etc) which could be verified against factory records, made a car more collectable and thus more valuable.  It was a matter of originality which came to matter, not functionality which mattered; a newer, better engine detracted from the value.  In some cases originality was allowed to be a shifting concept especially with vehicles used in competition; if a Ferrari was found to be on its third engine, that was fine as long as each swap was performed, in period, by the factory or its racing team.

An authentic 1968 Chevrolet SS427.  Because Chevrolet was during the 1960s somewhat lax in recording the exact details of the exact configuration of the cars as they left the assembly line, it can be difficult to verify what's an authentic Chevrolet SS and what's not.  Quite a few Impalas and others have been modified and represented as what they're not and it can take an expert to tell the difference and that difference can be worth tens of thousands of dollars.  Fortunately, there are many experts.    

That exception aside, it’s now very different and, all else being equal, the most authentic collectable of its type is the one most original.  These days collectors will line up their possessions in rows to be judged by “certified judges” who, clipboards in hand will peak and poke, ticking or crossing the boxes as they go.  They’re prepared to concede the air in the tyres, the fuel in the tank and the odd speck of dust on the carpet may not be what was there when first the thing left the factory but points will be deducted for offenses such as incorrect screw heads, or a hose clap perhaps being installed clockwise rather than anti-clockwise.  Sometimes a variation from the original can’t be detected, even by a certified judge.  If a component (without a verifiable serial number) has been replaced with a genuine factory part number, if done properly that will often get a tick whereas a reproduction part from a third-party manufacturer will often have some barely discernible difference and thus get a cross.  Given the money which churns around the market, there’s a bit of an informal industry in faking authenticity and with some vehicles it is actually technically possible exactly to take a mundane version of something and emulate a more desirable model; the difference in value potentially in the millions.  In some cases however, even if technically possible, it may be functionally not: If it’s notorious that only ten copies were produced of a certain model and all have for decades been accounted for, it’s not plausible to possess and eleventh. However, there are instances where the combination of (1) the factory not maintaining the necessary records and (2) the vehicle itself not being fitted with the requisite stampings or identification plates to determine exactly what options may originally have been fitted.

Christ with the Woman Taken in Adultery by Han van Meegeren (1889–1947) following Vermeer (1632-1675).

The matter of authenticity is obviously important in the art market.  Usually the critical factor is the identity of the artist.  In May 1945, immediately after the liberation from Nazi occupation of the Netherlands, the authorities arrested Dutch national Han van Meegeren (1889–1947) and charged him with collaborating with the enemy, a capital crime.  Evidence had emerged that van Meegeren had during World War II sold Vermeer's Christ with the Woman Taken in Adultery to Hermann Göring (1893–1946; prominent Nazi 1922-1945, Reichsmarschall 1940-1945).  His defense was as novel as it was unexpected: He claimed the painting was not a Vermeer but rather a forgery by his own hand, pointing out that as he had traded the fake for over a hundred other Dutch paintings seized earlier by the Reich Marshal and he was thus a national hero rather than a Nazi collaborator.  With a practical demonstration of his skill, added to his admission of having forged five other fake "Vermeers" during the 1930s, as well as two "Pieter de Hoochs" all of which had shown up on European art markets since 1937, he convinced the court and was acquitted but was then, as he expected, charged with forgery for which he received a one year sentence, half the maximum available to the court.  He died in prison of heart failure, brought on by years of drug and alcohol abuse.

His skills with brush and paint aside, Van Meegeren was able successfully to pass off his 1930s fakes as those of the seventeenth century painter of the Dutch baroque, Johannes Vermeer (1632–1675), because of the four years he spent meticulously testing the techniques by which as a new painting could be made to look centuries old.  The breakthrough was getting the oil-based paints thoroughly to harden, a process which naturally occurs over fifty-odd years.  His solution was to mix the pigments with the synthetic resin Bakelite, instead of oil.  For his canvas, he used a genuine but worthless seventeenth-century painting and removed as much of the picture as possible, scrubbing carefully with pumice and water, taking the utmost care not to lose the network of cracks, the existence of which would play a role in convincing many expert appraisers they were authentic Vermeers.  Once dry, he baked the canvas and rubbed a carefully concocted mix of ink and dust into the edges of the cracks, emulating the dirt which would, over centuries, accumulate.

Authentically guilty as sin: Hermann Göring in the dock, Nuremberg, 1946.

Modern x-ray techniques and chemical analysis mean such tricks can no longer succeed but, at the time, so convincing were his fakes that no doubts were expressed and the dubious Christ with the Woman Taken in Adultery became Göring's most prized acquisition, quite something given the literally thousands of pieces of art he looted from Europe.  One of the Allied officers who interrogated Göring in Nuremberg prison prior to his trial (1945-1946) recorded that the expression on his face when told "his Vermeer" was a fake suggested that "...for the first time Göring realized there really was evil in this world".

So the identity of the painter matters, indeed, between 1968-2014, there was a standing institution called the Rembrandt Research Project (RRP), an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (the NOW; the Netherlands Organization for Scientific Research), the charter of which included authenticating all works attributed to the artist (Rembrandt Harmenszoon van Rijn (1606-1669).  That was a conventional approach to authentication but there are others.  In the West there’s a long standing distinction between “high art” and “popular art” but not all cultures have that distinction and when the output of artists from those cultures is commoditised, what matters is ethnicity.  In Australia, the distinctive paintings categorized as “indigenous art” have become popular and are a defined market segment and what determines their authenticity is that they are legitimately and exclusively the work of indigenous artists.  The styles, of which dot painting is the best known, are technically not challenging to execute and thus easy to replicate by anyone and this has caused where non-indigenous hands have been found (or alleged) to be involved in the process.

The Times (London), 8 March 1997.

In 1997, Elizabeth Durack (1915–2000), a Western Australian disclosed that the much acclaimed works of the supposed indigenous artist “Eddie Burrup” had actually been painted by her in her studio, Eddie Burrup her pseudonym.  To make matters worse, prior to her revelation, some of the works had been included in exhibitions of Indigenous Australian art.  Although noted since the 1980s, the phrase “cultural appropriation” wasn’t then widely used outside of academia of activist communities but what Ms Durack did was a classic example of a representative of a dominant culture appropriating aspects of marginalized or minority cultures for some purpose.  Sometimes (perhaps intentionally) misunderstood, the critical part of cultural appropriation is the relationship between the hegemonic and the marginal; a white artist creating work in the style of an indigenous, colonized people and representing it in a manner which suggests it’s the product of an indigenous artist is CA.  Condoleezza Rice (b 1954; US secretary of state 2005-2009) playing Chopin on a Steinway is not; that’s cultural assimilation.  Once the truth was known, the works were removed from many galleries where they had hung and presumably the critical acclaim they had once received was withdrawn.  Both responses were of course correct.  Had Ms Durack represented the works as her own and signed them thus that would have been cultural appropriation and people could have responded as they wished but to represent them as the works of someone with a name all would interpret as that of an indigenous artist was both cultural appropriation and deceptive & misleading conduct with all that that implies.

One of the photographs run by The Australian (News Corp) in this report on the involvement of white people in the production of indigenous paintings, April 2023.

More recently, there have been accusations white staff employed in a commercial gallery where indigenous artists are employed to create paintings have been influenced, assisted or interfered with (depending on one’s view) in the production process.  According to the stories run in the Murdoch press, a white staff member was filmed suggesting some modification to an artist although whether this was thought to be on artistic grounds or at attempt to make something more resemble what sells best isn’t clear.  However, in a sense the motive doesn’t matter because the mere intervention detracts from the authenticity of the product, based as it is not on the inherent artistic merit but on the artist being indigenous.  In that the case was conceptually little different from Göring’s “Vermeer” which for years countless experts in fine art had acclaimed as a masterpiece while it hung in Carinhall, an opinion not repeated as soon as its dubious provenance was revealed.  Nor is it wholly dissimilar to the case of the replica 1962 Ferrari 250 GTO which is essentially a carbon copy of one of the 40-odd originals made (indeed it was in some ways technical superior) yet it is worth US$1.2 million while the record price for a genuine one was US$70 million.  So for a product to be thought authentic can depend on (1) that it was created by a certain individual, (2) that it was created by a member of a certain defined ethnicity or (3) that it was created by a certain institution.

Salvator Mundi (Savior of the World, circa 1505), oil on walnut by Leonardo da Vinci (1452–1519).

In art, authenticity is precious in many senses.  Salvator Mundi, the critics admit, is not an exceptional painting but once authenticated as the work of Leonardo, it created its own exceptionalism, in 2017 becoming the most expensive painting ever sold at public auction, attracting US$450 when offered by Christie's in New York.  The criteria for assessing the works of indigenous artists is also beneficial for them because unlike mainstream art, they’re not assessed as good or bad but merely as authentically indigenous or not.  That’s why there are no bad reviews of indigenous art or performance because the concept is (1) irrelevant, (2) such an idea is alien to indigenous peoples in Australia and (3) if expressed by white critics would represent the imposition of a Western cultural construct on a marginalized group.  Dot paintings and such are marketed through the structures of the art market because physically they’re similar objects (size & weight) to other paintings but they’re really modern, mass-produced artefacts which depend on provenance as much as a Ferrari, Leonardo or Vermeer.

Primitive

Primitive (pronounced prim-i-tiv)

(1) Being the first or earliest of the kind or in existence, especially in an early age of the world.

(2) Early in the history of the world or of humankind.

(3) Characteristic of early ages or of an early state of human development.(4) In anthropology, of or relating to a preliterate or tribal people having cultural or physical similarities with their early ancestors: no longer in technical use; denoting or relating to a preliterate and nonindustrial social system.

(5) Unaffected or little affected by civilizing influences; uncivilized; a savage (some historians once distinguished between barbarians and savages on what was essentially a racist basis).

(6) Being in its earliest period; early; old-fashioned.

(7) In art, an artist of a preliterate culture; a naïve or un-schooled artist; an artist belonging to the early stage in the development of a style; a work of art by a primitive artist; an artist whose work does not conform to traditional, academic, or avant-garde standards of Western painting, such as a painter from an African or Oceanic civilization

(8) In fine art, a painter of the pre-Renaissance era in European painting (usually as "Italian primitive"); the works of these artists or in their recognizable style.

(9) In mathematics, a geometric or algebraic form or expression from which another is derived or a function of which the derivative is a given function; a function the derivative of which is a given function; an anti-derivative.

(10) In linguistics, the form from which a given word or other linguistic form has been derived, by either morphological or historical processes, as take in undertake (the most recent common ancestor (although sometimes hypothetical)).

(11) In biology, of, relating to, or resembling an early stage in the evolutionary development of a particular group of organisms; another word for primordial.

(12) In geology, pertaining to magmas that have experienced only small degrees of fractional crystallization or crystal contamination; of, relating to, or denoting rocks formed in or before the Paleozoic era (obsolete).

(13) In Protestant theology, of, relating to, or associated with a minority group that breaks away from a sect, denomination, or Church in order to return to what is regarded as the original simplicity of the Gospels.

(14) In computer programming, a data type that is built into the programming language, as opposed to more complex structures; any of the simplest elements (instructions, statements) in a programming language.

(15) In digital imagery, artistic training and certain aspects of engineering and architecture, a set of basic geometric shapes which can be used individually or from which more complex shapes can be constructed.

(16) In grammar, original; primary; radical; not derived.

1350-1400: From the Middle English primitif (of an original cause; of a thing from which something is derived; not secondary (used as both noun and adjective and originally in the sense of "original ancestor")), from the Middle French primitif (very first, original) from the Latin prīmitīvus (first or earliest of its kind), from primitus (at first), from prīmus (first).  The alternative spelling primative is long obsolete.  Primitive is a noun & adjective and primitiveness & primitivism are nouns; the noun plural is primitives.

The meaning "of or belonging to the first age" was from the early fifteenth century and was applied especially in the Christian church in the sense of "adhering to the qualities of the early Church."  The secular version of this meaning "having the style of an early or ancient time" was a nostalgic expression, an allusion to the (supposed) simplicity of the "old days" emerged in the 1680s.  The use during the era of European colonial expansion to mean "an aboriginal person in a land visited by Europeans" is from 1779, thus the idea of a primitive being an "uncivilized person".  To the colonial powers it was quite an important point to make because, being "uncivilized" (1) there could of course not be a legal system and thus no conception of the "ownership" of land and (2) such lands the Europeans "discovered" could be declared Terra nullius (from the Latin meaning "nobody's land" (literally "land belonging to nobody").  In Western anthropology, the idea persisted and by the late nineteenth century it was applied to cultures which, through isolation, had continued to operate at a technologically simple level, and even by the mid-late twentieth century it was common for mainstream historians to distinguish between "civilizations" and mere "cultures".  Reflecting both the snobby disdain for the pre Renaissance Italian primitives and perhaps as an allusion to prehistoric cave art, critics in the early 1940s applied the label "primitive" to artists thought "untrained", water-colorists seemingly a particular target.

The Italian Primitives

Technically, the phrase “Italian primitives” refers to works of art created between late eleventh and early fourteenth century with a particular emphasis on the later years.  It wasn’t until the late eighteenth century that historians and collectors first showed notable interest in Italian primitives and it’s indicative of the attitudes of the time that the artists of the era were often classified as “Italian pre-Renaissance” or “proto-Renaissance” painters; as late as the 1970s, “Italian primitives” was something of a pejorative term, such was the reverence for the works of the later Italian Renaissance, especially the High Renaissance (1495–1520), and Mannerism (1520–1600).

Two works by Cimabue (Cenni di Pepo, circa 1240–1302): Castelfiorentino Madonna (circa 1283), tempera & gold on panel (left) and Santa Trinita Maestà (circa 1295), tempera on panel (right).  The early Italian primitive style contrasted with a work representing the later intrusions of technique and dimensional imagination.  It is however misleading to speak of "early" and "late" Italian primitives in the sense of a definable stylistic shift, works with the classic Byzantine lines and form still being painted (for a receptive market) even in the early Renaissance and there would of course be a revival of sorts in some of the schools of early twentieth century modernism.

The role the Italian primitives played in the transition from the Byzantine artistic tradition to the more naturalistic and humanistic style that would later characterize the Italian Renaissance was of course acknowledged but the works themselves were usually treated as something imitative or at least derivative of the earlier techniques despite there being an obvious move away from the strict stylization and abstract qualities of Byzantine art, elements of naturalism, spatial depth, and even an exaggerated emotional expression appearing.  The Renaissance was not one of those moments in art when there was an abrupt shift from one stylistic tradition to another and the Italian primitives were part of series of developments in art, architecture and culture that typify the forces which become epoch-making.  The emphasis on perspective, anatomical accuracy and depictions of the range of human emotion so associated with the Renaissance owes much to the Italian primitives, not only in technique but also what came to be regarded as acceptable subject matter for art and one might suspect the Renaissance masters, revolutionary though they were, perhaps regarded the earlier tradition with more reverence than the critics who were so seduced by the sumptuousness of Leonardo, Michelangelo, and Raphael.

Crucifix of Santa Maria Novella (circa 1280), tempera on wood by Giotto (Giotto di Bondone, circa 1267-1337).  Among the Italian primitives, the works of Giotto provide some of the finest illustrations of the emergence of elements which the Renaissance masters would refine and perfect.  His Crucifix of Santa Maria Novella is very much in the vein of earlier works by Giunta Pisano (circa 1180-circa 1260) and Cimabue and details how the Italian primitives didn't wholly abandon the hieratic solemnity of Byzantine iconography but weren't constrained by their formulaic traditions, returning to a realism which would have been familiar in antiquity.  The use of embryonic techniques of perspective and chiaroscuro created a depth and volume which would later become the dominant motif in European art.

Graphics Primitives in Digital Images

Lindsay Lohan constructed in graphic primitives by MeygaHardy on DeviantArt.

In digital imagery (vector graphics, CAD systems et al), graphic (sometimes called geometric) primitives are the simplest form of shape which can be rendered and scaled for display on a screen (although in advanced engineering, as mathematical expressions, there are pure geometric primitives which can’t be displayed although they can be manipulated) and are sometime thus described as “irreducible” or “atomic”.  The origin of all graphics primitives are the point (technically the representation of a point as a point exists in space as a dimensionless address) and the straight line (that which extends from one point and another).  These lives were the original vectors and the earliest computers could handle only lines and points, thing like triangles and squares being constructed from these.  Graphic primitives are now more extensive and from assembling these, more complex shapes can be built.  Among mathematicians, there are debates about just what can be said to constitute a pure primitive, some suggesting that if a shape can be reduced to two or more shapes, it doesn’t qualify but for most they’re just handy objects and the technical squabble passes unnoticed.  The principle of graphic primitives underpinned the techniques of the early cubist artists.

Primitif by Max Factor (1956).  The use of the French adjective Primitif lent the product a continental connection but it's the masculine form, the feminine being primitive.

Claw

Claw (pronounced klaw)

(1) In zoology (1) A sharp, usually curved, nail on the foot of an animal, as on a cat, dog or bird; (2) a corresponding structure in some invertebrates, such as the pincer of a crab (3) a similar curved process at the end of the leg of an insect a (4) a foot so equipped.

(2) A mechanical device either resembling a claw or with similar functionality, used for gripping or lifting.

(3) In colloquial use, a human fingernail, particularly if long (natural or extended).

(4) In botany, slender appendage or process, formed like a claw, such as the formation found at the base of petals.

(5) In juggling, the act of catching a ball overhand.

(6) To tear, scratch, seize, pull, etc, with or as if with claws.

(7) To make by or as if by scratching, digging etc, with hands or claws.

(8) To make fumbling motions.

Pre 900: From the Middle English noun clawen (sharp, hooked, horny end of the limb of a mammal, bird, reptile etc), from the Old English clawan, clāwan & clēn (claw, talon, iron hook), from the Proto-Germanic klawjaną & klawō and cognate with the Old High German kluwi, chlōa & chlō and akin to the Middle Dutch klouwe, the Dutch klauen & klauw, the Old Frisian klawe (claw, hoe), the West Frisian klau, the Sanskrit glau- (ball, sphere), the Danish, Norwegian & Swedish klo and the German Klaue (claw).  The Old English verb clawian (to scratch, claw) shared its etymology with the nouns and the developments in other Germanic languages included the Dutch klaauwen, the Old High German klawan and the German klauen.  Claw is a noun & verb, clawer is a noun. clawless is an adjective, clawed is a verb & adjective, clawing is a verb, noun & adjective and clawingly is an adverb; the noun plural is claws.

The phrase “to claw back” in the sense of "regain by great effort" sounds ancient but is documented only since 1953 as a noun; the verb (an act of this) coming into use in 1969.  The sense of antiquity comes from “clawback” which since at least the 1540s meant “one who fawns on another; a sycophant” and that was derived from the late fourteenth century “claw the back” (to flatter, to curry favor) which was different from the modern “you scratch my back and I’ll scratch yours) which is about co-operation with a whiff of something corrupt.  The use of “claw back” expanded in the 1970s to describe a trick in politics whereby the voters were given something in the run-up to an election and after getting their votes, a government would “claw back” what was given by using some mechanism apparently unrelated to the original bribe.  The noun dew claw (also as dew-claw) describes the “"rudimentary inner toe of the foot, especially the hind foot, of some dogs” and has been documented since the 1570s but may have enjoyed long regional use and etymologists note that while the claw part is obvious, the origin of the other element is mysterious.  The verb “declaw” was from veterinary science and was used usually of a procedure applied to creatures in zoos or domestic pets to make them less dangerous to others or their environment.  It’s become controversial.  In figurative use, it’s used to describe processes which limit the effectiveness of sporting teams, political parties etc.  Phrases like “showing her claws” & “scratching her eyes out” were once applied usually to (and about) bolshie women but it’s since been embraced by various parts of the LGBTQQIAAOP community; it’s used as required.  Claw is one of those words in English with a structural duality; in zoology a claw may either be a single nail or a collection of several.

Alexander McQueen’s “Armadillo boots” with “claw heels” (left) and Lindsay Lohan out walking in New York in claw heels, 2011 (left).

Alexander McQueen (1969-2010) displayed his “Armadillo boots” as part of the spring/summer 2010 Plato’s Atlantis collection which turned out to be his final show.  Inspired by the ideas made famous in Charles Darwin’s (1809-1882) On the Origin of Species (1859), the collection was an imagining of humankind evolving into a species living underwater (and thus technically a devolution) as hybrid aquatic creatures.  The boots were a blend of the shape of an Armadillo with the claw-like heel borrowed from the lobster, all finished in turquoise, sea-green and other shades evocative of oceans and coral reefs.  The combination of the 9-inch (230 mm) claw stiletto heel and the unnatural shape the foot made to assume meant the thought exercise was intended more to please fashion editors than end up on cobblers’ lasts but as Lindsay Lohan demonstrates, when combined with a more conventional fitting, the claw heel is manageable, the change in the centre of gravity induced by the forward movement of the heels point of contact presumably minimal.  While not conventionally attractive, the boots were admired by those who appreciate such things for their own sake and criticized by those who take such things too seriously.

Among his assemblages, Salvador Dalí’s (1904-1989) Lobster Telephone (1936) is the best known and probably as famous as La persistènciade la memòria (The Persistence of Memory (although often referred to as the more evocative “melting clocks”)) is among his paintings.  It tends now to be forgotten that by the 1930s the Surrealist movement had come to be seen as moribund, an idea which had worked its concepts dry but in a creative burst, Dali and his collaborators built installations both minute and at scale which, playing with conjunction of objects and spaces never before associated, managed what’s so rarely achieved in art: the genuinely new.  The lobster was also for Dali a sex object which may sound improbable until it’s remembered how influential had become the works of Sigmund Freud (1856-1939) and the crustacean, with its succulent white flesh promising pleasure and those menacing claws nothing but pain, was quite a motif.  To make the point he painted a large lobster for Elsa Schiaparelli (1890–1973) who in 1937 placed it with care on an evening gown, achieving an erotic playfulness.  Dali had just a much fun with the telephone, the claws enveloping a user’s ear while the tail, home of the sexual organs, was placed directly over the mouthpiece.

Avoiding the claws: Lindsay Lohan saving a lobster from certain death in Lindsay Lohan's Beach Club (2019).  Her intentions were pure but the ultimate fate of the crustacean remains uncertain. 

The Claw of Death, Chernobyl, Ukraine.

Although the whole, vast wasteland of the restricted zone which was declared after the nuclear accident in 1986 has any number of abandoned structures and relics, there’s something about the “claw of death” which people find especially eerie.  The radioactive artifact of Soviet-era nuclear power-plant design is a hydraulically activated clawed bucket which was once attached to one of the pieces of heavy machinery used to move contaminated objects during the decontamination process and although there are contradictory reports, it seems it was used to clear concrete, uranium & graphite debris from the collapsed roof of the building which housed the destroyed reactor.

Today, and for the indefinite future, the claw is located in the yard of the Service of Special Engineering Works in Pripyat and has become a tourist attraction and is always on the itinerary of guided tours of Chernobyl, the moniker “Claw of Death” a little misleading: it’s safe to within a few metres of the thing for a short period although close, prolonged exposure would cause radiation poisoning.  As soon as the clean-up operation was complete, the claw was dumped where it now sits and things were done in such a rush it was left in the middle of a road.  Because of Moscow’s “special military operation”, Chernobyl tourism is in abeyance but there’s no suggesting the claw will be moved so when business resumes, the claw will be waiting.  It can’t be melted-down or buried because of the risk of contaminating the soil or groundwater.

Lindsay Lohan as "Carrie" meets Freddy Krueger (boxer Floyd Mayweather (b 1977)), A Night Full of Fright, Halloween party at Foxwoods Resort Casino, Connecticut, 30 October 2013 (left).  Freddy Krueger was "the bastard son of a hundred maniacs", the antagonist in the A Nightmare on Elm Street film series (of which ANoES III was the best) and portrayed most memorably by Robert Englund (b 1947) (right).  His signature device was the clawed glove.

Bunga

Bunga (pronounce bung-gah)

(1) A name given by locals to a location near Moreton Bay in what is now the state of Queensland, Australia.

(2) Phrase associated with a visit by a fake Prince of Abyssinia and his entourage to a British warship in 1910.

(3) A term used by for former Italian Prime Minister Silvio Berlusconi to describe some of the social events he hosted, derived apparently from certain behaviour at the events.

Early 1800s: A word known in English in the early nineteenth century, drawn from various parts of the British Empire.  In Malay-speaking countries bunga means flower and bunga bunga is the plural.  It’s an Aboriginal place name in Queensland and the name of a deity worshiped in Malaysia, Thailand, the southern Philippines and northern Sumatra

The Dreadnought Hoax

The Dreadnought hoaxers.

In 1910, Horace de Vere Cole (1881-1936), Virginia Woolf (1882-1941), her brother Adrian Stephen (1883-1948) and a small group of friends, made up in the now socially unacceptable black-face, pretended to be the Prince of Abyssinia and his entourage, obtaining permission to visit the Royal Navy battleship HMS Dreadnought at anchor in Weymouth, Dorset.  The party was welcomed aboard the ship and an honor guard presented arms, accompanied by a rendition of a national anthem (which actually wasn't that of Abyssinia).  It was reported that each time they were shown some marvel of the ship, such as electric light, they murmured the phrase bunga, bunga!  When the pranksters revealed the hoax, there was some embarrassment but remarkably, it transpired no laws had been broken so prosecutions weren't possible (it would be very different today).  The Dreadnought's junior officers decided justice had to be done and met in the wardroom, staging a symbolic thrashing of the buttocks of the male miscreants.  Ms Woolf wasn't punished in absentia, the Royal Navy's long tradition with the lash not extending to the spanking of women.   

Silvio Berlusconi and the bunga bunga parties

Karima El Mahroug (b 1992) better known by her stage name Ruby Rubacuori (Ruby the Heartstealer).

Officially, former Italian Prime Minister Silvio Berlusconi (1936-2023; prime minister of Italy 1994-1995, 2001-2006 & 2008-2011) hosted private parties.  It later emerged they were a sort of semi-structured orgy run by signor Berlusconi to permit his (male) friends to enjoy the conversational skills of young women, anxious to please both host and guests.  Some of the women were younger than others and one turned out to be Ruby the Heartstealer, a pleasingly pneumatic nymph younger even than she at the time admitted.

Silvio and friends, off to bunga bunga.

Evidence Ruby the Heartstealer supplied in 2010 suggested she had received US$10,000 from signor Berlusconi while attending parties at his mansions.  Hoping to clarify the nature of these events, Ruby the Heartstealer described orgy-like behaviour where signor Berlusconi and more than a dozen young women performed an “African-style” ritual, referred to by those in attendance as "bunga bunga", the young ladies performing in varying degrees of undress.  Ruby the Heartstealer though maintained she never enjoyed intimacy with signor Berlusconi and that he "behaved like a father", adding he had given her the cash only because she had told him she was in some trouble.  In June 2013 he was found guilty of paying for sex with an underage prostitute and of abusing his office, was sentenced to seven years in prison and banned from holding public office for life.  A year later, judges in Milan overturned the conviction on appeal and the only conviction which was sustained was for tax evasion although, because of his age, he was spared prison and required to perform "community service".  Ruby did lie to him about her age and and few would deny it was at least plausible she was older.  Really, he was a victim. 

Silvio Berlusconi with Vladimir Putin (b 1952; president or prime minister of Russia since 1999).

A great character in European politics, he remains Italy's longest-serving prime-minister since Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943), a reasonable achievement given the churn-rate in those years.  Although there were scandals aplenty signor Berlusconi proved to be a great survivor and as soon as the pleasing technicalities of Italian law allowed his ban on seeking public office to expire earlier than that imposed in the headline sentence, he sought a seat in the European Parliament and was elected in 2019 and three years later returned to the Italian Senate after winning a seat in the 2022 Italian general election which brought Giorgia Meloni (b 1977; prime minister of Italy since 2022) to power.  There will be critics and it's absurd to suggest (as a few have) that he was to blame for the political emergence of Donald Trump (b 1946; US president 2017-2021) and polarizing as he was, many of his achievements were real and Italy has had prime-ministers who promised more and did less.  The government announced a national day of mourning for Wednesday 14 June, the day his state funeral will be conducted at Milan Cathedral.  Despite it all, he'll always be remembered as someone who got a bit of fun out of life and there are worse ways to be remembered.

Silvio's linguistic gift:  After bunga bunga re-entered the language, not even The Observer could resist using it when commenting (with their usual superior air) on Vanity Fair's photo-spread of Lindsay Lohan for the Italian edition.

Succedaneum

Succedaneum (pronounced suhk-si-dey-nee-uhm)

(1) Something used as a substitute, especially any medical drug or agent that may be taken or prescribed in place of another (obsolete).

(2) One who takes the place of another.

1635–1645: From the New Latin succēdāneum, a noun use of the neuter singular of the Classical Latin succēdāneus (succeeding, following after; acting as substitute), the construct being suc(cēdō) (succeed, follow) +‎ -āneus (the composite adjectival suffix).  The notion of a succedaneum exists in many contexts and there are descriptions which are exactly synonymous and some which are merely similar or functionally overlap to some extent surrogate, backup, understudy, replacement, stand-in, locum, alternate, deputy, expediency, proxy, stopgap, body-double, sub, makeshift, fill-in, delegate, temporary, assistant, nominee, replica, successor and substitute.  Succedaneum is a noun and succedaneous is an adjective, the noun plural is succedanea.

Lindsay Lohan body-doubles: The Parent Trap (1998) (left) and Irish Wish (2023 (right).

The understudy is a term from the performing arts (theatre, ballet, opera et al) and describes someone who rehearses a part and is available to perform if the designated character becomes unavailable (illness, injury, tantrum, death etc).  In some cases an understudy may become a replacement if a temporary substitution becomes permanent.  A backup is essentially the same concept as an understudy but is used more generally.  Locum was a seventeenth century adoption of the Medieval Latin locum tenens (literally “one holding a place”) and has evolved as a class-based description of “a temporary replacement”, being by convention restricted to the professions (doctors, dentists, lawyers, vets etc (and for historic reasons the clergy)) whereas a replacement plumber is simply a replacement.  A body-double is used in film & television production to take the place of an actor for a variety of reasons (dangerous stunt work, scheduling conflicts, nudity scenes etc).  Alternates are usually those appointed to some sort of deliberative body, typically a judge appointed to some sort of enquiry or tribunal expected to last a long time, the idea being that in the case the primary judge becomes unavailable (illness, injury, tantrum, death etc), the matter may proceed without interruption.  In this context a nominee is someone nominated to fulfill some role which is for whatever reason (ex-officio, inheritance etc) in the gift of the nominator.  A proxy is particular example of a nominee who is authorized to exercise some right (usually a vote or votes) on behalf of the nominator.  A stopgap or makeshift is a description of something or someone temporarily substituted until a permanent arrangement is made. A delegate is an appointment made to exercise authority held by another but also carries the special value in that the extent of the delegation can be split.  In granting authority to a delegate, the delegated authority can be restricted to a single instance with all other matters reserved for the delegator.  In many cases a deputy or assistant will be able to exercise all or some of the authority held by the higher office but there are no set rules and things will vary from place to place.  As successor is simply a replacement and such situations the word substitute usually isn’t applied.

The issue of the appropriateness of the notion of succedaneum in legal proceedings was explored in the hearings of the International Military Tribunal (IMT) during the first trial of the leading Nazis at Nuremberg (1945-1946).  The first matter considered was whether others could be substituted if a preferred defendant wasn’t available for trial (ie they were dead or missing).  Because of the teleological nature of the trial insisted on by the Americans (who were providing the bulk of the resources and paying most of the bills) which was best served by a thematic approach to the choice of defendants, at least one representative of each defined area of interest was needed.  In the case of the army and navy that was simple because senior officers were to hand and the matter of the air force was fudged by indicting Hermann Göring (1893–1946; leading Nazi 1922-1945 and Reichsmarschall 1940-1945) although his role as notional head of the Luftwaffe’s and indeed its role in the war received very little attention during the trial; given the Allies carpet bombing campaign had laid waste to German cities which indisputably were treated as civilian targets, it wasn’t something on which the prosecution wished to dwell although the opening address did include the admission the Germans not alone in reducing European cities to rubble and that “… the ruin that lies from the Rhine to the Danube shows that we have not been dull pupils”.  Despite that prosecutorial gesture however, it was make clear to counsel the defense of tu quoque (best translated as “you did it too” (literally “and you also”)) would not be permitted.

The defendants in the dock listening to Kaltenbrunner’s cross-examination, Nuremberg, 1946.

Dead or missing however were three of the most notorious figures from the security apparatus: Heinrich ("Gestapo") Müller (1900-1945 (presumed); head of the Gestapo 1939-1945), Reinhard Heydrich (1904–1942; head of the Reich Security Main Office 1939-1942) and Heinrich Himmler (1900–1945; Reichsführer SS 1929-1945).  However it was unthinkable a trial of the Nazis could be conducted without the Gestapo and the SS being represented so Ernst Kaltenbrunner (1903–1946; head of the Reich Security Main Office 1943-1945) was substituted and it proved a wise choice because of all the defendants, he was the one with absolutely no defense, his guilt established beyond any doubt by the wealth of documents signed in his own hand (his cross-examination a remarkably brief 2½ days).  He was a trained lawyer and simply denied everything although given the evidence his protests didn’t convince even the others in the dock.  He also wasn’t happy about the use of succedaneum, saying more than once he was not prepared “…to be an ersatz for Himmler” although that did him no good and he was condemned to hang.

Dead too was Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) but the trial was not simply about the armed conflict which was fought between 1939-1945; the Americans in particular wanted the trial to be a platform to explore the role of propaganda in totalitarian societies and the way it was exploited by the Nazis in the 1930s.  Goebbels however had been a dominant figure in propaganda and the only official from the ministry of any status who could be found was Hans Fritzsche (1900–1953) who while not exactly “the newsreader” some claimed, was not someone ever concerned with matters of high-policy and he was available for the trial only because, in the haphazard ways things happened at the end of the war, he’d fallen into the hands of the Russians.  Certainly, his voice was well-known to Germans but nobody on the British or US prosecution teams had heard of him and, perhaps more tellingly, neither had some of his fellow defendants.  Despite this unpromising background however, a case was prepared but compared with the mass-murderers and plunderers which whom he shared the dock, the tribunal wasn’t convinced he could be convicted of war crimes or crimes against humanity and ordered his acquittal.  Unlike the substituted Kaltenbrunner who was guilty as sin of horrific crimes, Fritzsche seemed little more than a clerk, guilty of something but not war crimes.  Arrested shortly afterwards by the German authorities, he was convicted as a “major offender” by a denazification court and sentenced to nine years imprisonment.  In the early Cold War however, attitudes were shifting and like many others, he was soon released.

Courtroom during the Krupp trial, Nuremberg, 1947.

By far the most troubling act of (attempted) succedaneum was that of Alfried Krupp (1907–1967).  Krupp was an industrialist and had been head of the Krupp concern (steel works and related production) which was a major supplier of weapons and other materiel to the Nazi war machine, much of it produced using slave labor under appalling conditions.  It was important to ensure a representative of industry be included in the trial and no operation was more dominant in the Nazi economy than Krupps.  In one of those curious mistakes which just can’t be fixed, although it had been intended to indict Alfried Krupp, at some point in the process, a filing error or something happened and instead his father Gustav Krupp (1870–1950) was listed.  The father had actually been “retired” to the titular position of Chairman because of physical and mental incapacity and the error wasn’t noticed until it was too late and the indictment had been issued.  Were it in any other context, an apology could have been made and the paperwork amended but “substitution” in criminal law is a special case and no civilized legal system permits it.  The court had already been made aware that the elder Krupp was physically and mentally not fit to attend a trial which prompted the suggestion he might be tried in absentia but this the tribunal declined.  The prosecution’s alternative plan was therefore to “add” the name of the son to the indictment but this appalled the tribunal even more because it was so obviously as substitution.  By now it was too late to run the argument that the “addition” was simply to correct the earlier filing error and the trial proceeded without either Krupp.

At things turned out, the mistake merely delayed things.  At the time, it wasn’t certain there would be subsequent trials but the success of the main trial encouraged the prosecutors and twelve hearings (referred to usually as the "Subsequent Nuremberg Trials") were conducted including three concerned with the crimes committed in the course of industrial production (Krupp, Flick & IG Farben).  After the trial (1947-1948), Alfried Krupp received a twelve year sentence and the forfeiture of property although he served only a few years before the sentence was commuted.

Genius

Genius (pronounced jeen-yuhs)

(1) An exceptional natural capacity of intellect, especially as applied to creative and original work in science and art.

(2) A person having such capacity.

(3) As applied collectively, usually to a nation or period, a descriptor of characteristics said to have produced something exceptional.

(4) The guardian spirit of a place, institution etc (now rare), derived from Roman mythology, the guiding spirit who attends a person from birth to death.

(5) In Islamic (Arabic) mythology (as jinn or genie), a demon (often plural).

1350–1400 (for its adoption in English; 1640s for its modern sense): From the Middle English, from the Latin genius (inborn nature; a tutelary deity of a person or place; wit, brilliance) from gignere (to beget) or gignō (to beget, produce) from the Old Latin genō from the primitive Indo-European root ǵenh & gen(e)-yo- from gene- (give birth, beget) with derivatives referring to procreation and familial and tribal groups.  The sense of "characteristic disposition" of a person is from 1580s, the modern meaning "person of exalted natural mental ability" was first recorded in the 1640s.  In English, as in the French genie and the German Genius & Genie, the “talent” senses of genius were likely influenced by the Latin ingenium (innate quality, nature, character, temperament, talent, intellect).  Ingenium supplied both ingenious and engine, its stem sharing a parent in genius’s gignere.  That French derivative, genie, was used to translate the jinn in the English translation (1706-1721) of the One Thousand and One Nights (أَلْفُ لَيْلَةٍ وَلَيْلَةٌ‎ (Alf Laylah wa-Laylah), the collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age; this was because of its resemblance in sound and, to some extent, sense.  Genius is a noun & adjective and geniusness is a noun; the noun plural is geniuses when applied to people and genii when otherwise used.

Evolution of genius

Over two millennia the meaning of “genius” shifted from a guiding spirit which lived in everyone to a description of the intellectual brilliance known only to a few.  The idea began in Ancient Rome; a person’s “genius” dictated their unique personality and disposition but it was more than a thousand years before the word came to be used to describe not a spirit inspiring a talent but also the talent itself.  In Antiquity, every person had a genius, a kind of guardian spirit who guided them from birth to death. The male genius was a kind of incarnation of Jupiter, the chief male deity; the female, Juno.  Places (genius loci), objects, events, and institutions also had their own genii, and Romans would propitiate their genii at important moments in their lives.

A scoop from Just Jared.

When first used in English, people still spoke of “having a genius” but as more rational understandings of mental ability evolved, it became increasingly common to describe them as “being a genius”.  The two meanings ran in parallel for centuries and echoed the Christian concept of guardian angels.  The “good” spirit was called the bonus genius (1606), the bad the malus genius (1538), giving rise to the seventeenth century “evil genius”, conceived originally as a malevolent spirit which tries to make someone do evil and the evil genius persists and remains prevalent among both historians (it does seem often applied to certain figures in the Third Reich (1933-1945)) and popular culture.  In English, the early use of genius as a label tended to favor poets, the most popular writing of the age.  Poet and scholar Philip Sidney (1554-1586) wrote that poetry “…must not be drawn by the ears: it must be gently led, or rather, it must lead, which was partly the cause that made the ancient learned affirm it was a divine, and no human skill, since all other knowledges lie ready for any that have strength of wit; a poet no industry can make, if his own genius be not carried into it.”  It later became used about great composers and authors although some thought it might be too liberally applied, essayist and playwright Joseph Addison (1672–1719) noting in 1711 there “...is no character more frequently given to a writer, than that of being a genius. I have heard many a little sonneteer called a fine genius.”  Now, the best footballer, tennis player etc might often be called "a genius" although there is the occasional echo of the ancient tradition: an exceptional goal or point might be described as an "act of genius".  

Donald Trump (b 1946; US president 2017-2021) on Twitter 6 January 2018.

In the modern age, it’s applied to scientists, artists and, perhaps sometimes hyperbolically, to some of the better backs (though of course never the forwards) in rugby.  In 2018, Donald Trump tweeted he was not merely a genius but “…a very stable genius”.  Reaction was mixed but as a title it tempted Washington Post reporters Philip Rucker (b 1984) & Carol Leonnig (b 1966) who in 2020 published A Very Stable Genius: Donald J. Trump's Testing of America.  It focused on the first three years of his presidency, a period during which things seemed at the time to be a bit erratic but was tranquil compared with what was to follow.  Three years to the day after the famous tweet, a mob of Trump supporters stormed the United States Capitol Building in Washington DC in an attempt to overturn the results of the 2020 presidential election.  As a coda, Rucker & Leonnig in 2021 published I Alone Can Fix It: Donald J. Trump's Catastrophic Final Year.