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Karen Pearlman

cognitive scholars, I turn in this article to the question of whether more knowledge of what filmmakers, particularly editors, do could reciprocate by contributing refinements, complications, or new research questions to scholarship in cognition and film

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

2002, 255–256 ; cf. Braidotti 2013, 93–94 ). As Charles Wolfe (2009) points out, Spinoza was the forerunner of a philosophical tradition indicating cognition as a social phenomenon (a tradition including Karl Marx, Lev Vygotsky, Alexander Luria, and

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Social Quality in China

An Analysis of the Evaluation of Different Classes

Cui Yan and Huang Yongliang

article, data from the 2017 Chinese Social Survey of the Institute of Sociology within the Chinese Academy of Social Sciences are collected and used to analyze and discuss each social class group’s cognition about the effect of the four conditional factors

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Richard Allen


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Factors in the Development of Spatial Cognition in Boys and Girls

Assessing the Impacts of Biology and Navigational Experience

Mariah G. Schug

explanation for the sex difference in spatial cognition ( Munroe and Munroe 1971 ). The Munroes (1971) are not the only researchers to note sex differences in spatial reasoning abilities. The study of spatial cognition includes a broad range of tasks, such

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Dan Flory

recent work in embodied cognition, primarily the idea of disgust. 4 I suggest that we explicitly incorporate disgust and other embodied cognitive responses into Mills’s conception of how race, racism, and the epistemology of ignorance work because

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For an Anthropology of Cognitive Disability

Patrick McKearney and Tyler Zoanni

‘neurodiversity’. Both sides in the controversy adhere to the consensus that it constitutes a profound form of difference at the level of cognition and perception. It is perhaps not surprising, then, that in trying to convey the kind of difference that autism

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Karin Luisa Badt

Neuroscientist Jaak Panksepp's theory of SEEKING offers a fundamental insight into why film spectators are engaged by what they see on screen. This article offers a new reading of Panksepp's SEEKING theory and how it applies to spectatorship, a reading informed by two months of the author's personal exchange with the scientist. The article states that the SEEKING impulse—defined as the emotional instinct to seek resources—applies not only to how the spectator identifies with the main character and his search for resources, but to how the spectator responds to visual and aural cues regardless of the story or characters. The article provides a corrective to spectator theories which focus too narrowly on narrative as a cue for viewer mental activity. An examination of two scenes from The Bicycle Thief and Stalker shows how SEEKING can occur on both the primary and tertiary level, thus breaking the emotion-cognition divide.

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Roland Littlewood

One hundred years after the publication of Totem and Taboo, Freud’s book is summarized, and its reception and current status noted.

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‘Those Twins of Learning’

Cognitive and Affective Learning in an Inclusive Shakespearean Curriculum

Sheila T. Cavanagh and Steve Rowland


Sheila T. Cavanagh and Steve Rowland link Shakespeare classrooms in distinctive venues: Cavanagh is a professor at Emory University in Atlanta, whose students are enrolled in undergraduate degree programmes; Rowland teaches at Monroe Correctional Facility in Washington State, under the auspices of University Beyond Bars. This article describes some of the practical and theoretical challenges emerging through this collaboration, many of which result from the instructors’ desires to construct their classes with pedagogic goals and assignments drawn from both cognitive and affective learning principles. Geography precludes the students meeting in person and they are not currently able to employ videoconferencing in this endeavour, but regular exchanges of essays and responses to each other's writing allows these disparate groups of Shakespeareans to expand their knowledge of the drama while sharpening their critical and writing skills and learning to develop their affective understandings of the subject.