This book summarizes the ideas about cognitive psychology expressed in the writings of medieval Europeans. Up until the 13th century, Christians who wrote about cognitive psychology, foremost of whom was St. Augustine, did so in the Neoplatonic tradition. The translation of the works of Aristotle and some of the works of Arab scholars into Latin during the 12th and 13th centuries brought a high level of sophistication to the theories. The author touches upon the works of Augustine, Averro^Des, Avicenna, Albertus Magnus, Thomas Aquinas, William of Ockham, and others.

This book describes the psychological ideas current in medieval Europe and their development during the period. The book aims partly to correct misperceptions about the nature of psychology in the Middle Ages. An important theme presented in this work is the surprising unity and coherence of medieval psychology. Chapter 1 gives a brief historical background to the Middle Ages, and outlines two major influences on medieval psychology: Christian beliefs and the earlier views of classical philosophers and physicians. Chapter 2 outlines medieval views on the nature of the soul and spirit, particularly those views derived from Aristotle. Chapter 3 deals with medieval theories of perception, particularly visual perception, while chapter 4 covers cognition and memory, particularly the medieval doctrine of the inner senses, according to which many cognitive functions were performed in the ventricles of the brain. Chapter 5 considers and evaluates Thomas Aquinas' account of emotion and will. Chapters 2 through 5 consider psychological phenomena mainly discussed by medieval scholastics; the phenomena in chapter 6 to 9, however, were often discussed by people with a less philosophical approach. Chapter 6 considers medieval accounts of individual differences, in particular the doctrine of the humors and the influence of astrology. Chapters 7 and 8 are concerned with widely different aspects of, and approaches to, mental disorder in the Middle Ages. Chapter 9 briefly describes a few further aspects of medieval psychology, and in the final chapter some conclusions are drawn. This book is written for people with a general interest in medieval studies, and will also appeal to historians of medieval psychology or medicine.

Defective Inspectors: Crime-fiction Pastiche in Late Twentieth-century French Literature

"My thought is me: that is why I cannot stop. I exist because I think... and I can't stop myself from thinking." - Jean-Paul Sartre, Nausea Writing the Mind: Representing Consciousness from Proust to Darrieussecq explores the works of seven ground-breaking thinkers and novelists of recent history to compare and contrast the varying representations of the conscious and the unconscious mind. Grounding his study in the writings of philosophers like Jean-Paul Sartre and Marcel Proust, Simon Kemp explores the non-literary influences of science, faith and philosophy as presented in their works, demonstrates how writers learn from and sometimes deviate from preceding generations, and how they agree or disagree with their peers. Kemp's elegant study also charts the rise and wane of Freudian influence on literature through the twentieth century, and the emergence of cognitive and neo-Darwinian ideas at the dawn of the twenty-first. In the work of these seven writers, we discover radically different understandings of how consciousness and the unconscious mind are constituted, which are the most salient characteristics of mental life, and even what it is that defines a mind at all.

"My thought is me: that is why I cannot stop. I exist because I think... and I can't stop myself from thinking." - Jean-Paul Sartre, Nausea Writing the Mind: Representing Consciousness from Proust to Darrieussecq explores the works of seven ground-breaking thinkers and novelists of recent history to compare and contrast the varying representations of the conscious and the unconscious mind. Grounding his study in the writings of philosophers like Jean-Paul Sartre and Marcel Proust, Simon Kemp explores the non-literary influences of science, faith and philosophy as presented in their works, demonstrates how writers learn from and sometimes deviate from preceding generations, and how they agree or disagree with their peers. Kemp's elegant study also charts the rise and wane of Freudian influence on literature through the twentieth century, and the emergence of cognitive and neo-Darwinian ideas at the dawn of the twenty-first. In the work of these seven writers, we discover radically different understandings of how consciousness and the unconscious mind are constituted, which are the most salient characteristics of mental life, and even what it is that defines a mind at all.

This book explores whether the ideology of communism was doomed to failure due to psychological rather than structural flaws. Does communism fail because there is not enough individual incentive and does it discourage psychological ownership? If so, does it produce learned helplessness and therefore empower evil? This book considers such questions, both with respect to how communism actually functioned and how it could have functioned using examples from Eastern Europe and the USSR itself during the 20th century. It reviews both the ideology of communism and its history, as well as the basic but difficult question of how one might decide whether an economic system can be defined as successful or not.

The last ten years have seen an enormous surge of interest in issues that are common to psychology and economics. How do people make decisions about economic issues? How should they make such decisions? Does public policy or regulation succeed in its aim of helping people make these decisions? What situations aid cooperation? This volume explores some of the ways in which economists and psychologists have tried to answer these questions. The authors are an international mix of economists and psychologists, and as such they demonstrate a diverse range of approaches to tackling different aspects of these issues. This is a frontier area for both psychology and economics, and consequently it is relatively free, lawless and, above all, exciting. This collection reflects the diversity and energy that characterise this rapidly growing interdisciplinary field. This book was originally published as a special issue of New Zealand Economic Papers.

This book explores whether the ideology of communism was doomed to failure due to psychological rather than structural flaws. Does communism fail because there is not enough individual incentive and does it discourage psychological ownership? If so, does it produce learned helplessness and therefore empower evil? This book considers such questions, both with respect to how communism actually functioned and how it could have functioned using examples from Eastern Europe and the USSR itself during the 20th century. It reviews both the ideology of communism and its history, as well as the basic but difficult question of how one might decide whether an economic system can be defined as successful or not.

The French novel's "return to the story" in the last decades of the twentieth century and the beginning of the twenty-first is has been widely acknowledged in literary scholarship. But is this assessment accurate? With "French Fiction in the Twenty-First Century, "Simon Kemp looks at the work of five contemporary writers--Annie Ernaux, Pascal Quignard, Marie Darrieussecq, Jean Echenoz, and Patrick Modiano--in the context of the current French literary scene, and examines how far they pursue the innovations of their predecessors and just how far they have turned their backs on the era of experiment.

Influential author of highly unconventional crime fiction, screenwriter, and occasional film director, Sebastien Japrisot was one of those rare contemporary writers in France able to establish an international reputation for himself. Although Japrisot's novels in particular continue to be read and studied across the world, this volume is the first ever academic study of Japrisot's work in the fields of both literature and cinema. Through a combination of thematic and text-specific studies, this volume takes in, and examines the legacy of, Japrisot's work from his youthful writings under his real name, Jean-Baptiste Rossi, to his crime fiction and screen writings of the 1960s and 1970s, concluding with his final novel Un long dimanche de fiancailles (A Very Long Engagement). It is both an essential introduction to Japrisot and a valuable academic assessment of his work's importance in the field of contemporary French literature and film.

Get to grips with set texts and be fully prepared for the AS/A Level exam with the Modern Languages Oxford Literature Companions. The Companions are written by experienced lecturers, teachers and examiners and provide comprehensive coverage of characters, themes, plot, language and context with activities in French to consolidate your knowledge of the text. There are also extensive sections on exam preparation and response planning, with a bank of annotated sample answers and practice questions. This guide covers L'etranger by Albert Camus. Modern Languages Oxford Literature Companions are also available for selected Spanish and German set texts.

Crime fiction is a popular target for literary pastiche in France. From the nouveau roman and the Oulipo group to the current avant-garde, writers have seized on the genre to exploit it for their own ends, toying with its traditional plots and characters, and exploring its preoccupations with perception, reason and truth. In the first full-length study of the phenomenon, Simon Kemps investigation centres on four major writers of the twentieth century, Alain Robbe-Grillet (b. 1922), Michel Butor (b. 1926), Georges Perec (193682) and Jean Echenoz (b. 1947). Out of their varied encounters with the genre, from deconstruction of the classic detective story to homage to the roman noir, Kemp elucidates the complex relationship between the pasticheur and his target, which demands an entirely new assessment of pastiche as a literary form.

Libby Saxton/Simon Kemp: Introduction--Martin Crowley: 'Que pourraiton montrer d'autre que ce qu'on voit?': Duras and the Photography of the Real--Nick Hanlon: Baudrillard's Aesthetic--Patrick Sheil: Neither Here nor There: Merleau-Ponty on Vision and Existence--Stamatina Dimakopoulou: On Seeing in Surrealism: Max Ernst's Objects of Vision--Rakhee Balaram: Eyes Wide Open, Eyes Wide Shut: Defining the Surrealist Eye--Hannah Westley: Visions of the Muse in Michel Leiris's L'Age d'Homme--Alistair Swiffen: Seeing Double/Hearing Things: In(s)anity in the Aumonymes of Robert Desnos--Claire Boyle: Resisting the Whole Picture: The Gaze, and Reading Autobiogrpahies by Nathalie Sarraute and Georges Perec--Sonya Stephens: Baudelaire and Courbet: The Art of the Unfinished--Ariane Smart: Hugo Visionnaire: Realism and Symbolism in the Myth of Paris--Blandine Chambost: The Mesmerizing Muse: Salome seen by Moreau and Mallarme--Jean Khalfa: Seeing the Present--Emma Wilson: Screening Pleasure: Touch and Vision in Contemporary Cinema (Krzysztof Kieslowski's Trois Couleurs: Blanc)--Carol O'Sullivan: Picturing Characters: Zazies a gogo.