This book explores the symbolic relationship between the self and the object. Specifically, in terms of “my objectified being”, in which the original physical nature of the “thing” includes its being alive, but loses this phenomenological quality in a sense as one’s “own” personal meaning comes to imbue it. Here, the “thing” is a living, breathing human being that becomes an intimate manifestation of one’s own imagined experience of the “doll”. Integral to the morphing or shaping of this essentially private experience may be certain cognitively universal substrates such as archetypal patterns, as well as idealistic tendencies of that which is desired. Both of these may contribute to the shaping of one’s subjective experience of the “doll”. This book will be of interest to scholars and researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, and philosophy of mind) might relate specifically to understanding the subjective experience of the “doll”.
This volume presents an exploration of the role of embodied cognition in creating personal, imaginative renditions of hair, that also distally relate to the symbolic significance of the fairytale character Rapunzel’s hair (in terms of physical life, romantic life, spiritual life, and psychic life, respectively). Integral to this relation, is the author’s idea of “fancifold”, which is a quality or state of the imagination that can produce unique neuropsychological elements of enchantment and disenchantment entwined. This book will be of interest to scholars and other researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, philosophy of mind, and metaphor) might relate specifically to understanding the subjective experience of hair.
In this second volume, following Dolls & Clowns & Things, the author once again explores the symbolic relationship between the self and the object. This time, however, the possible fundamental role of cognitive consonance, characterized here as the ability of the mind to integrate opposing ideas into a single expanded understanding of Self, is studied in terms of how it might relate to the following three categories of intuitive experience. One, my physical object, in which consonance or “wholeness” expands one’s understanding of Self when ideas about “youngness” and “oldness” become integrated as part of episodic memories that involve an actual physical (toy) doll. Two, my objectified being, in which consonance takes place when, again, ideas about “youngness” and “oldness” become integrated through the metaphoric objectification of certain points located on the human female body. And three, in which consonance develops as “youngness” and “oldness” ideas become integrated through a doll as a work of art. Within the theoretical framework of each of these three categories, various psychological dynamics which encompass memory, metaphor, and neuroplasticity, are understood to be essential to the molding and shaping of one’s subjective experience of “doll”.
This book explores the cognitive inter-dynamics of two overarching dimensions of human consciousness, referred to as This World and The Otherworld, respectively. Together, these dimensions may create, for any developing girl, a more-or-less unique experience of the archetype referred to here as Lolita, in the Mist. This “mist” may be a vital detail of Lolita imagery for an individual girl feeling protected enough to explore her budding sexuality in This World that is conjured, to a significant degree, through The Otherworld dimension. Indeed, such imagery may be a part of what dreaming experienced in waking life is made of. The book will be of interest to scholars and other researchers interested in how visual and social perceptual processes, principally through film imagery, might create a more phenomenological experience of the archetype through the interplay between This World and The Otherworld, as each exists within all of us.
This book explores the symbolic relationship between personal space and the Cinderella fairy-tale. It characterizes personal space as having couched within it the traversable self, with a highly individual, rather idiosyncratic portion of this space comprised of neurocognitive memory content of an intra-personally deep, highly satisfying nature. It can be said that such nuanced associations are the essence of the happily ever personal experience. This book will be of interest to scholars and other researchers concerned with how cognition (including psychology and the brain, psychology and literature, philosophy of mind, and metaphor) might relate specifically to understanding personal space, as well as how it might be characterized within the context of a most shoe-centric fairy-tale.
This book explores the influence of fairytale details and imagery on adult cognition. It presents an exploration of possible changes in an individual’s schematic representations that reflect certain artistic re-interpretations of the Sleeping Beauty fairytale, including works of performance art, fiction, and film. Integral to this cognitive change is what the author describes as being In-A-Boudoir state of mind, in which daydreams and fantasies may soothe an individual enough to facilitate new understandings of beauty, love, and fate. This book will be of interest to scholars and other researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, philosophy of the mind, and metaphor) might relate specifically to understanding the subjective experience of daydreaming.
This book explores the symbolic relationship between the self and the object. Specifically, in terms of “my objectified being”, in which the original physical nature of the “thing” includes its being alive, but loses this phenomenological quality in a sense as one’s “own” personal meaning comes to imbue it. Here, the “thing” is a living, breathing human being that becomes an intimate manifestation of one’s own imagined experience of the “doll”. Integral to the morphing or shaping of this essentially private experience may be certain cognitively universal substrates such as archetypal patterns, as well as idealistic tendencies of that which is desired. Both of these may contribute to the shaping of one’s subjective experience of the “doll”. This book will be of interest to scholars and researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, and philosophy of mind) might relate specifically to understanding the subjective experience of the “doll”.
In this second volume, following Dolls & Clowns & Things, the author once again explores the symbolic relationship between the self and the object. This time, however, the possible fundamental role of cognitive consonance, characterized here as the ability of the mind to integrate opposing ideas into a single expanded understanding of Self, is studied in terms of how it might relate to the following three categories of intuitive experience. One, my physical object, in which consonance or “wholeness” expands one’s understanding of Self when ideas about “youngness” and “oldness” become integrated as part of episodic memories that involve an actual physical (toy) doll. Two, my objectified being, in which consonance takes place when, again, ideas about “youngness” and “oldness” become integrated through the metaphoric objectification of certain points located on the human female body. And three, in which consonance develops as “youngness” and “oldness” ideas become integrated through a doll as a work of art. Within the theoretical framework of each of these three categories, various psychological dynamics which encompass memory, metaphor, and neuroplasticity, are understood to be essential to the molding and shaping of one’s subjective experience of “doll”.
This volume presents an exploration of the role of embodied cognition in creating personal, imaginative renditions of hair, that also distally relate to the symbolic significance of the fairytale character Rapunzel’s hair (in terms of physical life, romantic life, spiritual life, and psychic life, respectively). Integral to this relation, is the author’s idea of “fancifold”, which is a quality or state of the imagination that can produce unique neuropsychological elements of enchantment and disenchantment entwined. This book will be of interest to scholars and other researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, philosophy of mind, and metaphor) might relate specifically to understanding the subjective experience of hair.
This book explores the influence of fairytale details and imagery on adult cognition. It presents an exploration of possible changes in an individual’s schematic representations that reflect certain artistic re-interpretations of the Sleeping Beauty fairytale, including works of performance art, fiction, and film. Integral to this cognitive change is what the author describes as being In-A-Boudoir state of mind, in which daydreams and fantasies may soothe an individual enough to facilitate new understandings of beauty, love, and fate. This book will be of interest to scholars and other researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, philosophy of the mind, and metaphor) might relate specifically to understanding the subjective experience of daydreaming.
This book explores the cognitive inter-dynamics of two overarching dimensions of human consciousness, referred to as This World and The Otherworld, respectively. Together, these dimensions may create, for any developing girl, a more-or-less unique experience of the archetype referred to here as Lolita, in the Mist. This “mist” may be a vital detail of Lolita imagery for an individual girl feeling protected enough to explore her budding sexuality in This World that is conjured, to a significant degree, through The Otherworld dimension. Indeed, such imagery may be a part of what dreaming experienced in waking life is made of. The book will be of interest to scholars and other researchers interested in how visual and social perceptual processes, principally through film imagery, might create a more phenomenological experience of the archetype through the interplay between This World and The Otherworld, as each exists within all of us.
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