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In a wide arc from the Paleolithic to the present day, this book explores the changing structure of human experience and its impact on the dynamics of cultures, civilizations, and political ideas. The main thesis is a paradigm shift: the structure of human experience is not a universal constant but changes over time. Looking at the entire range of human history, there are a total of nine transformations, beginning with conscious perception and imagination in the Paleolithic and ending, for the time being, in modern times with the discovery of the unconscious. In between, this book explores six more transformations that took place in different regions and at different times, which include a sense of order, self-reflection, the eye of reason, spiritual experience, as well as the experience of creativity and of consciousness. As such, The History of Experience presents both a cross-cultural and comparative theory of experience and cultural dynamics, and an exploration of rich materials from East and West. This book is of great use to upper-level undergraduates, postgraduates, and scholars interested in the relationship between history, human experience, culture, and political order.
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept—namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul—a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
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This is the only book that examines the theory and data on the development of implicit and explicit memory. It first describes the characteristics of implicit and explicit memory (including conscious recollection) and tasks used with adults to measure them. Next, it reviews the brain mechanisms thought to underlie implicit and explicit memory and the studies with amnesics that initially prompted the search for different neuroanatomically-based memory systems. Two chapters review the Jacksonian (first in, last out) principle and empirical evidence for the hierarchical appearance and dissolution of two memory systems in animal models (rats, nonhuman primates), children, and normal/amnesic adults. Two chapters examine memory tasks used with human infants and evidence of implicit and explicit memory during early infancy. Three final chapters consider structural and processing accounts of adult memory dissociations, their applicability to infant memory dissociations, and implications of infant data for current concepts of implicit and explicit memory. (Series B)
Thatcher Michaelson is a bully. Arrogant. Cruel. Ruthless. And the most attractive guy I've ever laid eyes on. He's the rebel of Westbrook High, and I'm merely the annoying goody two-shoes he dubbed the saint. There must be something wrong with me. After nearly two years of dirty looks and constant humiliation, I'm still crushing on the guy who hated me on sight. Then he kissed me and instead of the ice-cold gaze I was accustomed to, I saw passion burning behind his dark molten eyes. Violet St. James doesn't belong in my world. Good. Kind. Pure. She's everything I'm not.She doesn't just look like an angel, she is one. And I've fought every impulse to make her mine.But all my efforts went up in flames the second I tasted her sweet lips. My inability to stay away has changed everything. She's determined to break down all my walls, but my little saint doesn't understand the consequences of her actions. She tells me she's not afraid of the fall.But she should be.