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Cover -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction -- 1: Theory of Mind Now and Then: Evolutionary and Historical Perspectives -- Theory of Mind and Theory of Minds in Literature Keith Oatley -- Social Minds in Little Dorrit Alan Palmer -- The Way We Imagine Mark Turner -- Theory of Mind and Fictions of Embodied Transparency Lisa Zunshine -- 2: Mind Reading and Literary Characterization -- Theory of the Murderous Mind: Understanding the Emotional Intensity of John Doyle's Interpretation of Sondheim's Sweeney Todd Diana Calderazzo -- Distraction as Liveliness of Mind: A Cognitive Approach to Characterization in Jane Austen Natalie Phillips -- Sancho Panza's Theory of Mind Howard Mancing -- Is Perceval Autistic?: Theory of Mind in the Conte del Graal Paula Leverage -- 3: Theory of Mind and Literary / Linguistic Structure -- Whose Mind's Eye? Free Indirect Discourse and the Covert Narrator in Marlene Streeruwitz's Nachwelt Jennifer Marston William -- Attractors, Trajectors, and Agents in Racine's "Récit de Théramène" Allen G. Wood -- The Importance of Deixis and Attributive Style for the Study of Theory of Mind: The Example of William Faulkner's Disturbed Characters Ineke Bockting -- 4: Alternate States of Mind -- Alternative Theory of Mind for Arti.cial Brains: A Logical Approach to Interpreting Alien Minds Orley K. Marron -- Reading Phantom Minds: Marie Darrieussecq's Naissance des fantômes and Ghosts' Body Language Mikko Keskinen -- Theory of Mind and Metamorphoses in Dreams: Jekyll & Hyde, and The Metamorphosis Richard Schweickert and Zhuangzhuang Xi -- Mother/Daughter Mind Reading and Ghostly Intervention in Toni Morrison's Beloved Klarina Priborkin -- 5: Theoretical, Philosophical, Political Approaches.
How should we deal with mental disorder - as an "illness" like diabetes or bronchitis, as a "problem in living", or what? This book seeks to answer such questions by going to their roots, in philosophical questions about the nature of the human mind, the ways in which it can be understood, and about the nature and aims of scientific medicine. The controversy over the nature of mental disorder and the appropriateness of the "medical model" is not just an abstract theoretical debate: it has a bearing on very practical issues of appropriate treatment, as well as on psychiatric ethics and law. A major contention of this book is that these questions are ultimately philosophical in character: they can be resolved only if we abandon some widespread philosophical assumptions about the "mind" and the "body", and about what it means for medicine to be "scientific". The "phenomenological" approach of the twentieth-century French philosopher, Maurice Merleau-Ponty is used to question these assumptions. His conception of human beings as "body-subjects" is argued to provide a more illuminating way of thinking about mental disorder and the ways in which it can be understood and treated. The conditions we conventionally call "mental disorders" are, it is argued, not a homogeneous group: the standard interpretation of the medical model fits some more readily than others. The core mental disorders, however, are best regarded as disturbed ways of being in the world, which cause unhappiness because of deviation from "human" rather than straightforwardly "biological" norms. That is, they are problems in how we experience the world and especially other people, rather than in physiological functioning - even though the nature of our experience cannot ultimately be separated from the ways in which our bodies function. This analysis is applied within the book both to issues in clinical treatment and to the special ethical and legal questions of psychiatry. Written by a well known philosopher in an accessible and clear style, this book should be of interest to a wide range of readers, from psychiatrists to social workers, lawyers, ethicists, philosophers and anyone with an interest in mental health.
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This concise and highly accessible textbook outlines the principles and techniques of storytelling. It is intended as a high-school and college-level introduction to the central concepts of narrative theory – concepts that will aid students in developing their competence not only in analysing and interpreting short stories and novels, but also in writing them. This textbook prioritises clarity over intricacy of theory, equipping its readers with the necessary tools to embark on further study of literature, literary theory and creative writing. Building on a ‘semiotic model of narrative,’ it is structured around the key elements of narratological theory, with chapters on plot, setting, characterisation, and narration, as well as on language and theme – elements which are underrepresented in existing textbooks on narrative theory. The chapter on language constitutes essential reading for those students unfamiliar with rhetoric, while the chapter on theme draws together significant perspectives from contemporary critical theory (including feminism and postcolonialism). This textbook is engaging and easily navigable, with key concepts highlighted and clearly explained, both in the text and in a full glossary located at the end of the book. Throughout the textbook the reader is aided by diagrams, images, quotes from prominent theorists, and instructive examples from classical and popular short stories and novels (such as Jane Austen’s Pride and Prejudice, Franz Kafka’s ‘The Metamorphosis,’ J. K. Rowling’s Harry Potter, or Dostoyevsky’s The Brothers Karamazov, amongst many others). Prose Fiction: An Introduction to the Semiotics of Narrative can either be incorporated as the main textbook into a wider syllabus on narrative theory and creative writing, or it can be used as a supplementary reference book for readers interested in narrative fiction. The textbook is a must-read for beginning students of narratology, especially those with no or limited prior experience in this area. It is of especial relevance to English and Humanities major students in Asia, for whom it was conceived and written.