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Harwood Fisher argues against neuroscientific and cognitive scientific explanations of mental states, for they fail to account for the gaps between actions in the brain, cognitive operations, linguistic mapping, and an individual's account of experience. Fisher probes a rich array of thought from the primitive and the dream to the artistic figure of speech, and extending to the scientific metaphor. He draws on first-person methodologies to restore the conscious self to a primary function in the generation of figurative thinking. How does the individual originate and organize terms and ideas? How can we differentiate between different types of thought and account for their origins? Fisher dep...
This book presents a new structural approach to the psychology of the person, inspired by Kenneth Colby’s computer-generated simulation, PARRY. The simulation was of a paranoid psychological state, represented in forms of the person's logic and syntax, as these would be evidenced in personal communication. Harwood Fisher uses a Structural View to highlight similarities in the logical form of the linguistic representations of Donald Trump, his avid followers (“Trumpers”), and the paranoid—referred to as “The Trio.” He demonstrates how the Structural View forms a series of logical and schematic patterns, similar to the way that content analysis can bring forth associations meanings...
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Harwood Fisher argues against neuroscientific and cognitive scientific explanations of mental states, for they fail to account for the gaps between actions in the brain, cognitive operations, linguistic mapping, and an individual's account of experience. Fisher probes a rich array of thought from the primitive and the dream to the artistic figure of speech, and extending to the scientific metaphor. He draws on first-person methodologies to restore the conscious self to a primary function in the generation of figurative thinking. How does the individual originate and organize terms and ideas? How can we differentiate between different types of thought and account for their origins? Fisher dep...
First multi-year cumulation covers six years: 1965-70.
This volume expands the concept and role of the schema, with three goals in mind: 1) to outline the continuing issues in the schema concept as the legacy of Kant’s concept and analysis, 2) to show that Kant’s challenges resulted in successful but truncated views of the schema and its functions, 3) to reconstruct Otto Selz’s schema concept by proposing an alternative. The basis and scope of Selz’s schema were intended to yield a more complete follow-up to Kant’s challenges. These had emerged out of his unresolved view of the schema as knowledge, on one hand, and thought, on the other. Sel’z concepts—‘anticipatory schema,’ ‘coordinate relations,’ and ‘knowledge complex’—are more inclusive and psychologically dynamic than those of the influential but reductionist theorists: Piaget, Bartlett, and Craik. Harwood Fisher explores Sel’z ideas in past, present, and future temporal contexts. His predecessors’ and his contemporaries’ ideas influenced him. Present-day needs and future prospects round out a Selzian conception of the schema that would enrich a psychology of thought and knowledge.
First multi-year cumulation covers six years: 1965-70.
“Art has a lot to answer for.” So says Sarah Bernhardt in Ronald Harwood’s play After the Lions. Harwood’s own career can be summarized by that same quote as well. Ronald Harwood’s Tragic Vision offers the first critical analysis of prolific and award-winning British author Ronald Harwood (1934–2020). Though he received an Oscar for The Pianist, a knighthood, and numerous other awards and nominations, Harwood worked as a ghostwriter, script doctor, and veritable unknown for many years. As he became successful, many critics still misread his works and positioned him as a less-fashionable counterpart to his lifelong friend Harold Pinter. This study proposes a conceptual framework to approach his, and others’, work based on the genre of tragedy, offering a greater appreciation for and understanding of the Harwood canon.
The Poetry of Saying unearths a secret history of fifty years of experimental British verse, revealing and illuminating the daring work of British poets who have spent a half-century rewriting the rules of English poetry. Poet Robert Sheppard considers individual poets such as Roy Fisher and Lee Harwood as well as the role of poetry magazines and the Poetry Society. Sheppard's position at the center of the 1950s British Poetry Revival enables him to offer an insider's commentary on the social, political, and historical background of this particularly fertile and exciting period in British poetry.