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New retro movies in 1990s Hollywood cinema

Memories’, Cognition , 5 (1977), 73–99. For a discussion on the validity of the concept see Daniel Schacter, Searching for Memory: the Brain, the Mind and the Past (New York: Basic Books, 1996) and Martin Conway, Flashbulb Memories (Hove: Erlbaum, 1994). 8 Richard Dyer, ‘The Notion of Pastiche’, in

in Memory and popular film
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Evil, Genocide and the Limits of Recognition

ontological characteristics. Arendt's relationship to current variants of recognition theory is contentious (see Markell 2003 ). While recognition is typically cast as a matter of undistorted cognition of the particular socially embedded identities carried by self and other, Arendt takes a dim view of any theoretical subordination of the political to identity, above all when identity

in Recognition and Global Politics

ontological implications of ‘the maker’s knowledge tradition’ as discussed by Elizabeth Spiller. 87 This tradition rejects an Aristotelian divide between ‘ praxis or poesis ’ and scientific knowledge, enforcing the integral relationship between mechanical practice and cognition. 88 As a result, ‘being able to make something was an act of knowledge; knowing something

in Making and unmaking in early modern English drama

the Illinois Test of Psycholinguistic Ability. 113 Many of these tests enabled comparisons of linguistic and non-linguistic abilities, hence the focus on this aspect of autistic children’s cognition. A typical account of an ‘autistic’ child read ‘probably of high ESN level on non-verbal material [but] … he is grossly retarded in language both in comprehension and expression

in The metamorphosis of autism
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The beginning of aesthetic theory and the end of art

shows the often remarkable interconnectedness of apparently disparate phenomena. The development of Western harmonic thinking makes considerable sense in terms of music’s increasing ability to incorporate contradiction into itself, though the advent of atonal music makes the matter more complex. However, such theoretical descriptions cannot deal with the relation of music to the dimension which Anthony Cascardi sees as decisive in Kantian aesthetics, namely its attention to ‘the specific element in subjectivity that is “incapable of becoming an element of cognition

in Aesthetics and subjectivity
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The adolescent girl and the nation

, in so doing, at once repeating and yet revising those difficulties. Schreiner and Stead, Emecheta and Shields, reveal that, when it comes to national family dramas, the symbolic dice are weighed against women’s selfrepresentation. Although, as Rajeswari Sunder Rajan and other feminist critics have argued, it is in ‘the process of the creation of selfhood that self-cognition occurs, and an identity is taken on’, identities within the nation are at the same time communally authorised.36 As is indicated by the ersatz, perfectly madeto-measure quality of Emecheta

in Stories of women
Sustaining literature

referred to as ‘phenomenalisation’, as a sign that offers – finally – true knowledge of the world as it is, and – in turn – explains the emergence of all other forms of inscription. (In this respect the geological scale of the Anthropocene would frame the emergence of life, cognition, humanity and its self-reflective triumph). Alternatively, and preferably, one might read the Anthropocene: there would be no direct passage from inscription to knowledge, nor to a humanity that would be the revealed ground or ‘we’ to whom the signs of the earth would be addressed. Notes 1

in Literature and sustainability

. Indeed the imagination can be understood as what makes being intelligible, instead of remaining opaquely enclosed within itself.5 The structure of seeing something as something which is made possible by what Kant explains in terms of schematism need not result in determinate cognition, as the ability to create metaphors – new ways of ‘seeing as’ – suggests. In this respect what the imagination produces seems to span both art and science. Taken a step further, nature’s own productivity might seem not be essentially different from our own production of forms of coherence

in Aesthetics and subjectivity
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if it is no longer possible to regard art as the essential key to interpreting largescale aspects of history and society which are obscured by dominant forms of cognition and technical control. One of the most important Romantic ideas resulting from the idea that the absolute is not accessible to reflection was that there should be an interplay of cognitive, ethical and aesthetic modes of articulation. The implications of this idea are well conveyed in Cavell’s claim that knowing things is not the only way of relating to them. The inaccessibility of the absolute is

in Aesthetics and subjectivity
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A cognitive perspective

condense quality networks), integrative knowledge incorporates an adaptivity or flexibility to factor variations. According to the evolutionary approach (Nelson and Winter 2002: 29), ‘the basic behavioural continuity issue can be addressed in terms of skills, routines, learning and cognition’. The notion of routine provides the basic integrative knowledge that assures the feasibility (or the coherence) and the efficiency of the tasks that individuals and organisations have to perform, in a given framework but in variable contexts. The problem of behavioural continuity is

in Qualities of food