http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

basic research and clinical data in an attempt to derive a cohesive model which explains the behavioral effects of the drug. Johnson is an experimental psychologist, and his work underlies many of the chapters which suggest that lithium decreases the behavioral response to novel external stimuli. He then utilizes this foundation to propose a cognitive model for lithium's anti-manic action, its inhibition of violent impulsivity, and its prophylactic effects in recurrent depression. Previous formulations which were clinically based, such as that of Mabel Blake Cohen and her associates, stressed the primacy of depression and noted the \"manic defense\" as an attempt to ward off intolerable depression. In direct contrast, Johnson views mania as the primary disturbance in bipolar disorder. He considers depression in bipolar disease as an over-zealous homeostatic inhibitory responsf to a maniaassociated cognitive overload. Consistent with this, he believes, lit lum exerts its anti-manic effect by decreasing cognitive processing in a manner analogous to his animal studies. Johnson also suggests that lithium exerts its prophylactic effect in recurrent depressions by treating subclinical mania. These concepts are supported by the work of Johnson's associate, Kukopulos, to whom the book is dedicated. The bulk of the research which describes the cognitive disturbance in mania is complex, however, and uncomfortably open to multiple interpretations. Recognized as a preliminary effort, Johnson's formulation may help to guide further research. Although Johnson clearly traces lithium actions through a broad range of subjects, his discussion of the neurophysiological aspects of this drug is notably spotty. In particular, Johnson ignores the work of Svensson, DeMontigny, Aghajanian, and others who suggest that serotonergic systems may play an important role in the antidepressant actions of lithium. As a result, he fails to discuss one of the most important current uses of lithium: as an agent used in conjunction with antidepressant medications to increase treatment response in medication-resistant forms of depression. Lithium augmentation of antidepressant medication also challenges the formulation presented by Johnson. This formulation suggests that lithium should have no therapeutic value in patients, such as those with endogenous depression, who already \"under-process\" cognitive information. The omission of lithium augmentation in depression is clearly unfortunate in this text. Overall, this volume demonstrates the benefits of a single-authored text. It it clearly organized and readable. The bibliography is also broad and useful. In this book, Johnson primarily addresses a research audience, and his model seems designed to stimulate thought rather than to improve clinical technique. In this capacity, his book will be of most interest to behavioral psychologists. Other books, focusing purely on clinical data, may be more useful to clinicians. Nevertheless, the clear organization, the large bibliography, and the thoughtful presentation may make this text a useful addition to a clinical library as well.

The Body in Pain: The Making and Unmaking of the World.

Gilles Fauconnier & Mark Turner, " The way we think: conceptual blending and the mind's hidden complexities"

Supersizing the Mind: Embodiment, Action and Cognitive Extension.

Unmarked: The Politics of Performance, Peggy Phelan. London: Routtedge, 1993. xi + 207 pp., figures, notes, bibliography, index.

Unmarked: The Politics of Performance

Who's there? Linguistic Synaesthesia Mirror | Mirror Mirror | rorriM A Cognitive Linguistic Reading of Hamlet's Meaning Superflux Play's the Thing - A cognitive Linguistic Performance Analysis Past/Future, Microscope/Telescope, Performance/Science Conclusion: A Dying Voice

Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science

Theatre works on the body and mind of the spectator, changing minds and touch ing bodies at the deepest level. As a theatre scholar and practitioner, I am driven to understand the nature of that "work": how is it that an embodied story told onstage has the power to "move" an audience? At a time when most people are more accus tomed to the dramaturgical and rhetorical simplicity of a television comedy, how do audiences unpack the language and storytelling in a play like Richard JIJ? Theatre and performance studies have productively turned to theories of anthropology, psychology, linguistics, and others to seek answers to the questions that drive the field.2 In a move likely to provide the kind of jolt to the field that Turner and Freud once did, scholars are now seeking?and finding?answers in the cognitive sciences.3

Interplay: The Method and Potential of a Cognitive Scientific Approach to Theatre

The Wooster Group's Hamlet created a space between the 1964 Richard Burton film, Shakespeare's text, and the live event. Cook shows how understanding mirror neurons illuminates the Wooster Group's production.

Wrinkles, Wormholes, and Hamlet: The Wooster Group's Hamlet as a Challenge to Periodicity

Theatre, Performance and Cognition: Languages, Bodies and Ecologies

It is true that I am a proselytizer for the work being done at the intersection of the cognitive sciences and the humanities; I can be found on college campuses shaking a copy of The Way We Think (2002) or How the Body Shapes the Mind (2006) and spreading the good word about the importance of deploying research from across the cognitive sciences to previously held beliefs about language and bodies onstage. My aims are not small and my opinions are not meek. There are questions about the great impact that language and performance has on an audience to which I still do not have the answer and yet find more exciting given research in the cognitive sciences. This essay, however, will not be a manifesto, nor will it present clear answers or bold claims. Working in an intersection requires a degree of caution. I know better than to let that metaphor go unquestioned: interdisciplinary inquiry need not be work and it need not be perilous. If, instead, I describe my project here as playing on the beachfront of theatre and performance studies, watching how the waves of research from the cognitive sciences come in and alter the shoreline, I may open up the field of play, rather than advancing an argument for a kind of work. This is not to suggest that the scholarship is lazy and noncommittal, rather that what I seek to do here is imagine the kinds of sandcastles that could be made on this beach here and now. What if, for example, research on emotions could show us how to rethink our moat building? What if the science of empathy changed how we understood the properties of sand? Research on emotions and empathy, the stock and trade of theatre, poses exciting new questions for the theory and practice of theatre and will shape, dissolve, and reconstitute how we understand what is staged. The Player blows Hamlet’s mind because he can cry and feel emotions for someone he doesn’t know as someone he isn’t:

/pdf/for-hecuba-or-for-hamlet-rethinking-emotion-and-empathy-in-2kj7yvze2h.pdf

Amy Cook

Papers

Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science

Interplay: The Method and Potential of a Cognitive Scientific Approach to Theatre

Wrinkles, Wormholes, and Hamlet: The Wooster Group's Hamlet as a Challenge to Periodicity

Theatre, Performance and Cognition: Languages, Bodies and Ecologies

For Hecuba or for Hamlet: Rethinking Emotion and Empathy in the Theatre