Charles W. Morris' doctoral thesis Symbolism and Reality, written in 1925 at Chicago under George H. Mead, has never before been published. It sets out to prove that thought and mind are not entities, nor even processes involving a psychical substance distinguishable from the rest of reality, but are explicable as the functioning of parts of the experience as symbols to an organism of other parts of experience. Being then the symbolic portion of experience, the psychical or mental can (...) neither be sharply opposed to the rest of experience nor identical with the whole of experience. This edition includes a preface by Achim Eschbach, an extensive bibliography of Morris' works, and indices of names and subjects. (shrink)

PARTI FOREWORD "Knowledge of a thing engenders love of it; the more exact the knowledge, the more fervent the love." Leonardo Da Vinci ) The stream of ...

The symbol of the heart is at the core of traditional Chinese psychology and culture, according to author Heyong Shen. In this latest volume arising from the popular Fay Lecture Series, sponsored by the Jung Center, Houston, the noted Chinese analyst, scholar, and educator discusses Jungian analysis in China and explores what the historical Chinese emphasis on the heart can add to Western understandings of modern depth psychology. C.G. Jung had a profound personal interest in Chinese culture and (...) wrote extensively on Chinese philosophy and symbolism. In his foreword to Richard Wilhelm's translation of the I Ching, the ancient Chinese oracle and book of wisdom, Jung referred to Chinese logograms as readable archetypes. Continuing this theme, Shen states in his prologue, "Most of the basic psychological terms in Chinese characters are formed originally with the image of the heart and contain deep meaning for the understanding of depth psychology and Jungian analysis... The Chinese characters for 'thinking,' 'emotion,' 'will,' and 'intention' are all combined with the image of the heart, as are the characters for 'love,' 'hate,' 'compassion,' 'virtue,' 'listening,' 'healing,' and for 'wise,' 'wisdom,' and 'enlightenment.'" The heart serves as the foundation. Drawing from centuries-deep wells of Chinese, Buddhist, and Confucian thought as well as an intimate understanding of the development of Jung's theories, Shen offers a valuable reminder of the many commonalities among humans from all nations as they seek greater levels of self-awareness. (shrink)

Freud, Psychoanalysis and Symbolism offers an innovative general theory of symbolism, derived from Freud's psychoanalytic theory and relocated within mainstream scientific psychology. It is the first systematic investigation of the development of Freud's treatment of symbolism throughout his published works, and discovers in those writings a broad theory which is far superior to the widely accepted, narrow, 'official' view. Agnes Petocz argues that the treatment of symbolism must begin with the identification and clarification of a (...) set of logical constraints and psychological requirements which any general theory of symbolism must respect, and that these requirements have been neglected by existing accounts across a number of disciplines. Her newly proposed 'Freudian broad' theory of symbolism, by contrast, does meet these requirements, but only after it has been rehabilitated within a revised psychoanalytic context, encompassing major changes to our understanding of the concepts of unconscious and repression and the role of language. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides (...) us with opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

The symbolism of Jacob and Esau -- On the collective symbolism of the brother motif -- Layers of the unconscious: the interpretation of mythology.

Alchemy is central to Jung's hypothesis of the collective unconscious. In this volume he begins with an outline of the process and aims of psychotherapy, and then moves on to work out the analogies between alchemy, Christian dogma and symbolism and his own understanding of the analytic process. Introducing the basic concepts of alchemy, Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification (...) of the alchemists. Finally, in using the alchemical process as providing insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. (shrink)

Alchemy is central to Jung's hypothesis of the collective unconscious. In this volume he begins with an outline of the process and aims of psychotherapy, and then moves on to work out the analogies between alchemy, Christian dogma and symbolism and his own understanding of the analytic process. Introducing the basic concepts of alchemy, Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification (...) of the alchemists. Finally, in using the alchemical process as providing insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. (shrink)

Despite two centuries of research, the human unconscious remains a vast, virtually uncharted territory in the field of psychology. Further understanding of the unconscious mind is crucial, since it is from this wellspring that the totality of human experience arises in all its complexity and power. Clinical psychology discovers the origins of behavioral disorders by examining historical and medical data, but the precise synthesis of these determinants is only now being discovered. In The Psychology of the Unconscious (...) William L. Kelly presents an overview of the lives and works of four major contributors to our present knowledge of the unconscious: Anton Mesmer, Pierre Janet, Sigmund Freud, and Carl Gustav Jung. Kelly examines the fascinating careers of these giants as well as the major themes of their research, including the use of hypnosis to treat hysteria and the relation of the symbolism of dreams to unconscious forces. Revealing the all-too-human elements at work behind the myths, Kelly recounts the difficulties early psychotherapy had in making itself a respectable branch of science and the infighting that led finally to a personal and professional break between Freud and Jung. After presenting the major themes in the work of the early experimentalists, Kelly moves on to a discussion of important recent findings in five major areas of research into the unconscious: mind-body (psychosomatic) illnesses; sleep disorders; dream therapy; hypnosis; and parapsychology. While the legitimacy of such allegedly paranormal phenomena as clairvoyance, psychokinesis, and precognition has long been contested and remains controversial still, their study continues to fascinate modern researchers. Unique in its introductory yet thorough discussion and analysis of the history and development of theories of the unconscious, this highly readable volume provides an accessible synthesis of the psychology of the unconscious and suggests future developments. As the human species enters the twenty-first century, along what divergent paths on the "royal road" to the unconscious will psychology take us? Various researchers may offer different answers, but on one thing they all agree, given the earlier lessons learned from Mesmer, Janet, Freud, and Jung: a heightened knowledge of the unconscious can only mean an improved understanding of human behavior. (shrink)

We perceive color everywhere and on everything that we encounter in daily life. Color science has progressed to the point where a great deal is known about the mechanics, evolution, and development of color vision, but less is known about the relation between color vision and psychology. However, color psychology is now a burgeoning, exciting area and this Handbook provides comprehensive coverage of emerging theory and research. Top scholars in the field provide rigorous overviews of work on color (...) categorization, color symbolism and association, color preference, reciprocal relations between color perception and psychological functioning, and variations and deficiencies in color perception. The Handbook of Color Psychology seeks to facilitate cross-fertilization among researchers, both within and across disciplines and areas of research, and is an essential resource for anyone interested in color psychology in both theoretical and applied areas of study. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

A simply written and beautifully illustrated collection of meditations, this book explores each year and phase of life. Hans Korteweg, a well-respected Jungian scholar, offers simple yet profound insights into the qualities, challenges, and possibilities each cycle of life brings to one's lifelong journey toward happiness and fulfillment. Full-color illustrations.

Carl Jung's work played an important role in shaping modern psychology. Through a thorough exploration of Jung's psychological ideas and the ancient beliefs of shamanistic cultures, this unique investigation unveils startling parallels between the two. As different as they may seem at first glance, these two branches of human paradigm and belief have amazing similarities in structure and function. Interspersed with the writings of Jung, this fascinating account traces the forces and patterns of symbolism common to shamanism and (...) depth psychology. By studying these parallels, it is possible to get a glimpse into major aspects of the human psyche and understand the universality of psychic events in time and space. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

A study of the analogies between alchemy, Christian dogma, and psychological symbolism. Revised translation, with new bibliography and index.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this article, we introduce the theory of archetype, which explains the connection between ancient myths and the human mind. Based on the assumption that archetypes are in the deepest level of human mind, we propose that archetypal symbolism is a kind of knowledge that supports the cognitive process for creating subjective world-view towards the physical world we live in. According to archetypal symbolism, we conducted an empirical study to identify archetypal symbols in modern movies. A new collection (...) of movie clips was developed to represent eight essential archetypes: anima, animus, mentor, mother, shadow, hero’s departure, hero’s initiation and hero’s return, which can be used in future studies on human emotion. In order to investigate the emotions towards these archetypal symbols, we provide suggestions from the psychological point of view. The present study demonstrates how to identify symbolic meanings in movies, and indicates a new direction for future studies in psychology. (shrink)

The bulk of this addition to the Bollingen Jung izs made up of studies of the symbolism of Western religion. The translation of "Versuch zu einer psychologischen Deutung des Trinitätsdogmas" is the most important item which is new in English. The essays on Eastern religion include three forewords and two brief commentaries.--R. P.

This first analysis of the Religious Fundamentalism Scale in Iran further examined findings that conservative religious commitments have positive adjustment implications outside the West. Religious Fundamentalism in a sample of 385 Iranian university students displayed direct relationships with Muslim religiosity and spirituality and correlated positively with the Transcendence and negatively with the Symbolism Post-Critical Beliefs factors. Religious Fundamentalism, and conservative religiosity more generally, predicted better mental health in relationship with variables related to self-regulation, narcissism, and splitting. PCB factors defined (...) a fundamentalist attitude of Literal Affirmation that also displayed some linkages with more adaptive psychological functioning. Iranians who self-identified as “both religious and spiritual” were more conservative religiously and more adjusted psychologically than three other religious-spiritual types. Conservative religiosity did predict the maladjustment of Exploitable Dependency. These data further suggested that conservative religiosity can have largely, though not wholly, positive mental health implications outside the West. (shrink)

Although in modern times and clinical settings, we rarely see the old characteristics of tribal shamanism such as deep trances, out-of-body experiences, and soul retrieval, the archetypal dreams, waking visions and active imagination of modern depth psychology represents a liminal zone where ancient and modern shamanism overlaps with analytical psychology. These essays explore the contributors' excursions as healers and therapists into this zone. The contributors describe the many facets shamanism and depth psychology have in common: animal (...) class='Hi'>symbolism; recognition of the reality of the collective unconscious; and healing rituals that put therapist and patient in touch with transpersonal powers. By reintroducing the core of shamanism in contemporary form, these essays shape a powerful means of healing that combines the direct contact with the inner psyche one finds in shamanism with the self-reflection and critical awareness of modern consciousness. The essays draw from the contributors' experiences both inside and outside the consulting room, and with cultures that include the Lakota Sioux, and those of the Peruvian Andes and the Hawaiian Islands. The focus is on those aspects of shamanism most useful and relevant to the modern practice of depth psychology. As a result, these explorations bring the young practice of analytical psychology into perspective as part of a much more ancient heritage of shamanistic healing. Contributors: Margaret Laurel Allen, Norma Churchill, Arthur Colman, Lori Cromer, Patricia Damery, C. Jess Groesbeck, Pansy Hawk Wing, June Kounin, Carol McRae, Pilar Montero, Jeffrey A. Raff, Janet S. Robinson, Meredith Sabini, Dyane N. Sherwood, Sara Spaulding-Phillips, Bradley A. Te Paske and Louis M. Vuksinick. (shrink)

Mathematicians and physical scientists depend heavily on the formal symbolism of mathematics in order to express and develop their theories. For this and other reasons the last hundred years has seen a growing interest in the nature of formal language and the way it expresses meaning; particularly the objective, shared aspect of meaning as opposed to subjective, personal aspects. This dichotomy suggests the question: do the objective philosophical theories of meaning offer concepts which can be applied in psychological theories (...) of meaning? In recent years cognitive scientists such as Chomsky [1980], Fodor [1981] and MacNamara [1982] have used philosophical approaches to the meaning of formal language expressions as the basis for their psychological theories. Following this lead it seems appropriate to review some of the main treatments of meaning with a view to their transferability. (shrink)

This timely collection asks the reader to consider how society's modern notion of humans as rational, isolated individuals has contributed to psychological and social problems and oppressive power structures. Experts from a range of disciplines offer a complex understanding of how humans are shaped by history, tradition, and institutions. Drawing upon the work of Lacan, Fanon, and Foucault, this text examines cultural memory, modern ideas of race and gender, the roles of symbolism and mythology, and neoliberalism's impact on (...) class='Hi'>psychology. Through clinical vignettes and suggested applications, it demonstrates significant alternatives to the isolated individualism of Western philosophy and psychology. This interdisciplinary volume is essential reading for clinicians and anyone looking to augment their understanding of how human beings are shaped by the societies they inhabit. (shrink)

Lambert développe une conception originale de l’apparence, qui se distingue de la conception classique (Descartes) par le fait que la logique de l’apparence n’est pas déduite de la logique de la vérité, mais est restituée dans son ordre propre : la phénoménologie n’est pas l’alethiologie. L’apparence n’est pas illusion – sur ce point Lambert s’accorde avec les philosophes – mais elle n’est pas non plus réductible à l’ordre du savoir, bien que la connaissance de l’apparence soit une condition de la (...) connaissance elle-même. Pour dégager le langage de l’apparence, et comprendre sa sémiologie, Lambert médite sur l’optique, qui permet de définir un sujet qui ne soit ni pure subjectivité ni constitutif de l’objectivité. (shrink)

Cognitive scientists have a variety of approaches to studying cognition: experimental psychology, computer science, robotics, neuroscience, educational psychology, philosophy of mind, and psycholinguistics, to name but a few. In addition, they also differ in their approaches to cognition - some of them consider that the mind works basically like a computer, involving programs composed of abstract, amodal, and arbitrary symbols. Others claim that cognition is embodied - that is, symbols must be grounded on perceptual, motoric, and emotional experience. (...) The existence of such different approaches has consequences when dealing with practical issues such as understanding brain disorders, designing artificial intelligence programs and robots, improving psychotherapy, or designing instructional programs. The symbolist and embodiment camps seldom engage in any kind of debate to clarify their differences. This book is the first attempt to do so. It brings together a team of outstanding scientists, adopting symbolist and embodied viewpoints, in an attempt to understand how the mind works and the nature of linguistic meaning. As well as being interdisciplinary, all authors have made an attempt to find solutions to substantial issues beyond specific vocabularies and techniques. (shrink)

In this original work of psychoanalytic theory, John Muller explores the formative power of signs and their impact on the mind, the body and subjectivity, giving special attention to work of the French psychoanalyst Jacques Lacan and the American philosopher Charles Sanders Peirce. Muller explores how Lacan's way of understanding experience through three dimensions--the real, the imaginary and the symbolic--can be useful both for thinking about cultural phenomena and for understanding the complexities involved in treating psychotic patients. Muller develops Lacan's (...) perspective gradually, presenting it as distinctive approaches to data from a variety of sources, such as cognitive, social and developmental psychology, literature, history, art, and psychoanalytic treatment. The book's first four chapters present Muller's reading of selected data from child development research, psychology and linguistics, approximating a semiotic model of "normal" development. The following three chapters examine in a Lacanian framework the structural basis of psychotic stages as indicative of massive semiotic failure in development. The final chapters on human narcissism suggest reasons that "normal" development may be impossible. (shrink)

Introduction -- Undermining the hermeneutics of suspicion -- The historical emergence of psychological man -- The "religious" therapeutics -- Rieff on Jung's "language of faith" -- Rieff and the hermeneutics of suspicion -- An alternative hermeneutic -- Applying this hermeneutic to depth psychology -- Concluding remarks -- The historical sources of Jung's psychology -- The young metaphysician -- Tempering metaphysical inclinations with a pragmatic standpoint -- The resurgence of metaphysics in Jung's psychology -- Jung's subjectivist argument -- (...) The influence of vitalism -- Individuation and the prospective method -- From the prospective method to a metaphysics of archetypes -- Jung and the Paracelsian theory of knowledge -- The persistence of metaphysical questions -- Hermeneutics and Jung's psychology -- The re-discovery of the psychogenic -- Towards a more adequate understanding of the psychogenic -- The methodological problems facing depth psychology -- The symbolic life -- The "realism of the East" -- The symbol of the self -- The "two kinds of thinking" -- "The transcendent function" -- From signs to symbols -- The practice of the transcendent function -- Definitions from psychological types (1921) -- The symbolic attitude -- Transcendent presence -- Alignment with the self -- Projective psychology and divine transcendence -- The relevance of the dispute between Jung and Buber -- The still point -- The beyond -- Contemporary psychoanalysis and the still point -- Ogden on potential space. (shrink)

The biological and neurological capacity to symbolize, and the products of behavioral, cognitive, sociocultural, linguistic, and technological uses of symbols (symbolism), are fundamental to every aspect of human life. The Oxford Handbook of Human Symbolic Evolution explores the origins of our characteristically human abilities - our ability to speak, create images, play music, and read and write. The book investigates how symbolization evolved in human evolution and how symbolism is expressed across the various areas of human life. The (...) field is intrinsically interdisciplinary - considering findings from fossil studies, scientific research from primatology, developmental psychology, and of course linguistics. Written by world leading experts, thirty-eight topical chapters are grouped into six thematic parts that respectively focus on epistemological, psychological, anthropological, ethological, linguistic, and social-technological aspects of human symbolic evolution. The handbook presents an in-depth but comprehensive and interdisciplinary overview of the of the state of the art in the science of human symbolic evolution. This work will be of interest to academics and students active in all fields contributing to the study of human evolution. (shrink)

Stratagem of the Corpse is a philosophical and literary exposition of death not so much as seen by Baudrillard but Baudrillard as seen by death.

Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the (...) relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

Reprint, in paper covers, of the Columbia U. Press edition of 1990. Annotation copyright by Book News, Inc., Portland, OR.

Wittgenstein's anti‐psychologism had induced him not to investigate the concepts that informed the psychological presuppositions of the Tractatus; only the essence of any possible symbolism seemed relevant to his concerns. The private language arguments have shown the incoherence of the idea that the foundations of language lie in private mental objects that constitute, or explain, the meanings of primitive indefinables of language. For language is 'alive' for one only in so far as one thinks or understands the senses attached (...) to sentences. Thinking is a psychological process of coming into intellectual contact with, grasping, these lexical souls. One deep root of our troubles lies in a supposition which Wittgenstein criticized in the context of his discussion of the name/object model as misapplied to the concept of pain and its relation to pain‐behaviour. We must remind ourselves how specialized is the language‐game of saying what we think, of communicating our thoughts, of telling them to others. (shrink)