Lisa Zunshine, Getting Inside Your Head: What Cognitive Science Can Tell Us about Popular Culture
Frederick Luis Aldama
This article at once celebrates and puts at cautionary arm's length the tremendous advances made in the cognitive and neurosciences as research that can deepen our understanding of creating and consuming of literature, films, comic books. After providing an overview of recent insights by scholars with one foot in the humanities and the other in the cognitive and neurosciences, the article reflects on some key precepts that might be useful in our continued shaping of a humanities and cognitive based research program. For instance, the article explores the way authors, film directors, and artists generally not only construct artifacts that elicit positive emotions but also negative emotions. It also proposes a model for understanding how the “aesthetic” is a relation and not a property nor an essence of the object (a film) nor something to be found in the subject (us viewing the film).
Daniel T. Levin and Caryn Wang
Levin and Simons (2000) argued that perceptual experience in film and the real world share a deep similarity in that both rely on inferences that visual properties are stable across views. This article argues that the perception and representation of visual space also reveal deep commonalities between film and the real world. The article reviews psychological research on visual space that suggests that we not only attend to similar spatial cues both in film and in nonmediated settings, but also that the rules for combining and selecting among these cues are similar. In exploring these links, it becomes clear that there is a bidirectional relationship between cognitive psychology and film editing that allows each to provide important insights about the other.
A Critical Assessment
Recent cognitive and evolutionary approaches to the study of religion have been seen by many as a naturalistic alternative to conventional anthropological interpretations. Whereas anthropologists have traditionally accounted for the existence of religion in terms of social and cultural determinants, cognitive scientists have emphasized the innate—that is pre-cultural—constraints placed by natural selection on the formation and acquisition of religious ideas. This article provides a critical assessment of the main theoretical proposals put forward by cognitive scientists and suggests possible interactions, perhaps interdependencies, with more standard anthropological sensibilities, especially between cognitive and evolutionary perspectives that see religion as a by-product of innate psychological dispositions and anthropological approaches that take the 'meaningful' nature of religious symbols as their point of departure.
Assessing the Impacts of Biology and Navigational Experience
Mariah G. Schug
rotation task (MRT) were also better at an object location test and at identifying locations on a world map. Males’ greater performance on several spatial tasks when compared to females is one of the best-documented sex differences in cognitive science. In
Carl Plantinga, Jeffrey M. Zacks, and Bonnie S. Kaufman
Mark Turner, ed. THE ARTFUL MIND: COGNITIVE SCIENCE AND THE RIDDLE OF HUMAN CREATIVITY. New York: Oxford University Press, 2006, xvi + 314 pp., $35.00 (hardback).
Mary A. Peterson, Barbara Gillam, and H. A. Sedgwick, eds., IN THE MIND’S EYE: JULIAN HOCHBERG ON THE PERCEPTION OF PICTURES, FILMS, AND THE WORLD. New York: Oxford University Press, 2007, xix + 366 pp., $75 (hardback).
Gabbard, Glen, ed., PSYCHOANALYSIS AND FILM. London: Karnac Books, 2001, viii + 239 pp., $39.95 (paperback).
Sabbadini, Andrea, ed. THE COUCH AND THE SILVER SCREEN: PSYCHOANALYTIC REFLECTIONS ON EUROPEAN CINEMA. London: Brunner-Routledge, 2003, xx + 258 pp., $78.95 (hardback), $33.95 (paperback).
Hazel E. Barnes
While Sartre scholars cannot fairly be described as being opposed to science, they have, for the most part, stayed aloof. The field of psychology, of course, has been an exception. Sartre himself felt compelled to present his own existential psychoanalysis by marking the parallels and differences between his position and traditional approaches, particularly the Freudian. The same is true with respect to his concept of bad faith and of emotional behavior. Scholars have followed his lead with richly productive results. But we may note that the debate has centered on psychic and therapeutic issues, aspects of what Sartre called le vécu or lived experience, rather than on the findings of cognitive science or neuroscience. Although all existentialists and phenomenologists accept as a central tenet the fact that consciousness is embodied, there has been virtually no concern with the biological substratum. But the study of consciousness cannot be restricted within its own narrow confines—unlike, say, Greek grammar, which can be learned without reference to the rules of Arabic. At some point, there must be established an organic foundation for the behavior of the conscious organism.
Situating Narration in the Fiction Film in the Context of Theories of Narrative Comprehension
Joseph P. Magliano and James A. Clinton
upon cognitive science. However by the time that the book was published, much of the research on narrative comprehension discussed in the book was no longer in the zeitgeist. Nonetheless, a central claim of this article is that Bordwell had sustained
the field. Scholars from cognitive science, literature, philosophy, and film studies assess the book’s impact. Its author, David Bordwell, replies to their remarks and shares his contemporary perspective on the book. I thank the participants in this
adequately grounding them. Especially in his application of neuroscientific theories to the analysis of filmic scenes in Part 2, he remains too close to what has been identified in the cognitive sciences as the biological basis of mental capacities and their