This book deals with two areas, for which there is rarely a search for a common denominator: the human nervous system and the problems of civilisation. What are the performance features of the nervous system? How do these act together? How do modes of behaviour, emotions, cognitive achievements, artistic inclinations, the psyche and the self-conscious mind evolve from this? This subject is a controversial area and there are many attempts at interpreting the named phenomena from different fields. Eckhard Schindler adds another one. He directs attention to significant findings from neurosciences and applies the method of abstraction to this. The result is a hypothetical but consistent description of the system which could be concealed behind the nervous system. In the other section of the book, the human failings of our time are subject to a critical analysis. In large parts of the world crime, violence and corruption prevail. A substantial part of technological achievements is aimed at being able to commit brutal acts of war. The natural environment and biodiversity are our livelihoods, but we are knowingly destroying this abundance. We are following the principles of accelerated consumption, economic growth and the increase in shareholder value towards disaster. We have efficient technologies and industries and allow people to starve. It can also hardly be denied that the human being is equipped with a pronounced propensity towards destructive modes of behaviour. Great cultural achievements are at any moment undermined by disaster. Analysis of this dark side of civilisation is followed by the search for solutions. The idea of a largely peaceful, fair and systematic (sustainable) management of global cultural society appears to be a utopia considering the geopolitical realities. Eckhard Schindler contrasts this resigned perception with practical problem-solving approaches. The principles of the system behind the nervous system here act as a starting point.
Using the theoretical frameworks of Freud, Todorov, and Bahktin, this book explores how American writers of the late 20th century have translated the psychoanalytical concept of »the uncanny« into their novelistic discourses. The two texts under scrutiny - Paul Auster's »City of Glass« and Toni Morrison's »Jazz« - show that the uncanny has developed into a crucial trope to delineate personal and collective fears that are often grounded on the postmodern disruption of spatio-temporal continuities and coherences.
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