Titlebook: Ghosts of Theatre and Cinema in the Brain; Mark Pizzato Book 2006 Mark Pizzato 2006 brain.novel.stage.theatre.William Shakespeare

Sputum

CANDY

Kevin Verhoeff,A. M. James Shapirots of the mind toward the interactive spaces of characters and their spectators, onstage and onscreen. But the current chapter turns this homology outside in. The ghosts of Self and Other exist not only inside the theatre of the mind, based in material synaptic connections and anatomical interaction

巨頭

斜坡

Maria Alvarez-Viejo,Khawaja Husnain Haidert’s theory of an internal environment (discussed in chapter 1 here). Some nonhuman primates can also recognize themselves in a mirror or photograph (Donald, . 120–22).. But they lack a self-referential awareness of inner states, even when taught by humans to use language. But they lack a self-refere

流逝

Introduction,l and neural ghosts, I use the philosophical dimensions of cognitive science and psychoanalysis (especially the revisions of Freud by Jacques Lacan and Slavoj Zizek), and I seek their possible material foundations in neurology and evolutionary psychology. Through these various disciplines, I hope to

Indurate

Will the Real , Please Stand Up?,nk” therefore I exist), is now being reconsidered, through new views of ghosts in the machinery of the brain. How did the human brain become an internal theatre—and is there a central director or playwright in charge?

戲服

期滿(mǎn)

diathermy

Noh Desires and ,heatre and cinema are also mechanisms of evolution, from nature to culture, as humans not only adapt to a natural environment but also radically transform it—replaying the past changes and future possibilities, onstage or onscreen.

刺激

Brain Stages,t’s theory of an internal environment (discussed in chapter 1 here). Some nonhuman primates can also recognize themselves in a mirror or photograph (Donald, . 120–22).. But they lack a self-referential awareness of inner states, even when taught by humans to use language. But they lack a self-refere