Download Free Metaphors Of Mind In Fiction And Psychology Book in PDF and EPUB Free Download. You can read online Metaphors Of Mind In Fiction And Psychology and write the review.

Curiosity about the human mind—what it is and how it functions—began long before modern psychology. But because the mind and its processes are so elusive, they could be described only by means of metaphor. Michael Kearns, in this prize-winning study, examines the development of metaphors of the mind in psychological writings from Hobbes through William James and in fiction from Defoe through Henry James. Throughout the eighteenth century and even into the early nineteenth, metaphors of the mind as a relatively simple entity, either mechanical or biological, dominated both those engaged in psychological theorizing and novelists ranging from Richardson and Smollett through Dickens and the Brontes. In the nineteenth century, such psychologists as Herbert Spencer and Alexander Bain conceived of the mind as a complex organism quite different from that embodied in earlier thinking, but their figurative language did not keep pace. The result was a tension between theoretical expression and actual discussion of mental phenomena
This book deals with various aspects of metaphorics and yet it is not only, or perhaps not even primarily, about metaphor itself. Rather it is concerned with the argument from metaphor. In other words, it is about what I think we can learn from metaphor and the possible consequences of this lesson for a more adequate understanding, for instance, of our mental processes, the possibilities and limitations of our reasoning, the strictures of propositionality, the cognitive effect of fictional projections and so on. In this sense it is not, strictly speaking, a contribution to metaphorology; instead, it is an attempt to define the place of metaphor in the world of overall human intellectual activity, exemplary thematized here in the span that ranges from problems relating to the articulation of meanings up to general issues of creativity. Most of the aspects discussed, therefore, are examined not so much for the sake of gaining some new knowledge about metaphor (work conducted in the »science of metaphor« is presently so huge that an extra attempt to spell out another theory of metaphor may have an infiatory effect); the basic strategy of this book is to view metaphor within the complex of language usage and language competence, in human thought and action, and, finally, to see in what philosophically relevant way it improves our knowledge of ourselves. Certainly, by adopting this basic strategy we also simultaneously increase our knowledge of metaphors, of their functions and importance.
Challenging the notion that modernism is marked by an “inward turn” – a configuration of the individual as distinct from the world – this collection delineates the relationship between the mind and material and social systems, rethinking our understanding of modernism's representation of cognitive and affective processes. Through analysis of a variety of international novels, short stories, and films – all published roughly between 1890 and 1945 – the contributors to this collection demonstrate that the so-called “inward turn” of modernist narratives in fact reflects the necessary interaction between mind, self, and world that constitutes knowledge, and therefore precludes any radical split between these categories. The essays examine the cognitive value of modernist narrative, showing how the perception of objects and of other people is a relational activity that requires an awareness of the constant flux of reality. The Fictional Minds of Modernism explores how modernist narratives offer insights into the real, historical world not as a mere object of contemplation but as an object of knowledge, thus bridging the gap between classical narratology and modernist experimentation.
Describing how to give individuals an opportunity to discover how their symbolic perceptions are organized, what needs to happen for these to change, and how they can develop as a result, this text includes three client transcripts.
Arguing that psychologists and their predecessors have invariably relied on metaphors in articulation, the contributors to this volume offer a new "key" to understanding a critically important area of human knowledge by specifying the major metaphors.
When Dickens was nineteen years old, he wrote a poem for Maria Beadnell, the young woman he wished to marry. The poem imagined Maria as a welcoming landlady offering lodgings to let. Almost forty years later, Dickens died, leaving his final novel unfinished - in its last scene, another landlady sets breakfast down for her enigmatic lodger. These kinds of characters are everywhere in Dickens's writing. Charles Dickens and the Properties of Fiction: The Lodger World explores the significance of tenancy in his fiction. In nineteenth century Britain the vast majority of people rented, rather than owned, their homes. Instead of keeping to themselves, they shared space - renting, lodging, taking lodgers in, or simply living side-by-side in a crowded modern city. Charles Dickens explored both the chaos and the unexpected harmony to be found in rented spaces, the loneliness and sociability, the interactions between cohabitants, the complex gender dynamics at play, and the relationship between space and money. Charles Dickens and the Properties of Fiction demonstrates that a cosy, secluded home life was beyond the reach of most Victorian Londoners, and considers Dickens's nuanced conception of domesticity. Tenancy maintained an enduring hold upon his imagination, giving him new stories to tell and offering him a set of models to think about authorship. He celebrated the fact that unassuming houses brim with narrative potential: comedies, romances, and detective plots take place behind their doors. Charles Dickens and the Properties of Fiction: The Lodger World wedges these doors open.
Edition statement taken from text, page 4 of cover.
Metaphor, though not now the scholarly “mania” it once was, remains a topic of great interest in many disciplines albeit with interesting shifts in emphasis.Warren Shibles' Metaphor: An Annotated Bibliography and History (Bloomington, Ind. 1971) recorded the initial interest. Then Metaphor: A Bibliography of Post-1970 Publications, published by John Benjamins, continued the record through the mania years up to 1985 when writings proliferated as metaphor was seen to be a fundamental category in human thought and language.Five years later, there is a need for a report on the newest thinking and tendencies in the field. This need is fulfilled by Metaphor II which offers a comprehensive view of information which would otherwise remain scattered throughout a numbing plethora of resources, including many sometimes-hard-to-find publications from Eastern Europe.Metaphor II systematically collects references of books, articles and papers published between 1985 and May 1990, and includes for completeness corrections and additions to the earlier bibliographies. Abstracts are given for many of the titles, while four indices (disciplines, semantic fields, metaphor theory and names) multiply the number of access points to the information.
This book sheds light on the intimate relationship between built space and the mind, exploring the ways in which architecture inhabits and shapes both the memory and the imagination. Examining the role of the house, a recurrent, even haunting, image in art and literature from classical times to the present day, it includes new work by both leading scholars and early career academics, providing fresh insights into the spiritual, social, and imaginative significances of built space. Further, it reveals how engagement with both real and imagined architectural structures has long been a way of understanding the intangible workings of the mind itself.
We often think of the mind as an inner world. Once, this inner world might have been a spirit or soul - a "ghost in the machine", in Gilbert Ryle's memorable phrase. Nowadays, we are told it will be found in the brain. Adam Toon argues that this is a mistake. In fact, our concept of mind is fundamentally metaphorical: we project the 'outer world' of human culture onto the 'inner world' of the mind. This is an enormously powerful way of making sense of people and their behaviour. But we must not forget that this inner world is only a useful fiction. Mind as Metaphor develops this idea to offer a radical new approach to the mind, known as mental fictionalism. Toon shows that mental fictionalism can make sense of our ordinary concept of mind (or folk psychology), while avoiding the difficulties faced by alternative approaches, such as behaviourism or instrumentalism. In doing so, Mind as Metaphor sheds new light on a range of issues, from the mind's capacity to represent the world (or intentionality) to the way in which new tools and practices expand the limits of inquiry. Written in a concise, engaging, and accessible style, Mind as Metaphor is essential reading for anyone interested in the nature of the mind and its relationship to human culture