The book analyses a variety of topics and current issues in linguistics and literary studies, focusing especially on such aspects as memory, identity and cognition. Firstly, it discusses the notion of memory and the idea of reimagining, as well as coming to terms with the past. Secondly, it studies the relationship between perception, cognition and language use. It then investigates a variety of practices of language users, language learners and translators, such as the use of borrowings from hip-hop and slang. The book is intended for researchers in the fields of linguistics and literary studies, lecturers teaching undergraduate and master’s students on courses in language and literature.

How do our brains store—and then conjure up—past experiences to make us who we are? A twinge of sadness, a rush of love, a knot of loss, a whiff of regret. Memories have the power to move us, often when we least expect it, a sign of the complex neural process that continues in the background of our everyday lives. This process shapes us: filtering the world around us, informing our behavior and feeding our imagination. Psychiatrist Veronica O’Keane has spent many years observing how memory and experience are interwoven. In this rich, fascinating exploration, she asks, among other things: Why can memories feel so real? How are our sensations and perceptions connected with them? Why is place so important in memory? Are there such things as “true” and “false” memories? And, above all, what happens when the process of memory is disrupted by mental illness? O’Keane uses the broken memories of psychosis to illuminate the integrated human brain, offering a new way of thinking about our own personal experiences. Drawing on poignant accounts that include her own experiences, as well as what we can learn from insights in literature and fairytales and the latest neuroscientific research, O’Keane reframes our understanding of the extraordinary puzzle that is the human brain and how it changes during its growth from birth to adolescence and old age. By elucidating this process, she exposes the way that the formation of memory in the brain is vital to the creation of our sense of self.

The question of how well children recall and can discuss emotional experiences is one with numerous theoretical and applied implications. Theoretically, the role of emotions generally and emtional distress specifically in children's emerging cognitive abilities has implications for understanding how children attend to and process information, how children react to emotional information, and how that information affects their development and functioning over time. Practically speaking, increasing numbers of children have been involved in legal settings as victims or witnesses to violence, highlighting the need to determine the extent to which children's eyewitness reports of traumatic experiences are accurate and complete. In clinical contexts, the ability to narrate emotional events is emerging as a significant predictor of psychological outcomes. How children learn to describe emotional experiences and the extent to which they can do so coherently thus has important implications for clinical interventions.

The strengths and weaknesses of human memory have fascinated people for hundreds of years, so it is not surprising that memory research has remained one of the most flourishing areas in science. During the last decade, however, a genuine science of memory has emerged, resulting in research and theories that are rich, complex, and far reaching in their implications. Endel Tulving and Fergus Craik, both leaders in memory research, have created this highly accessible guide to their field. In each chapter, eminent researchers provide insights into their particular areas of expertise in memory research. Together, the chapters in this handbook lay out the theories and presents the evidence on which they are based, highlights the important new discoveries, and defines their consequences for professionals and students in psychology, neuroscience, clinical medicine, law, and engineering.

The Wiley Handbook on the Cognitive Neuroscience of Memory presents a comprehensive overview of the latest, cutting-edge neuroscience research being done relating to the study of human memory and cognition. Features the analysis of original data using cutting edge methods in cognitive neuroscience research Presents a conceptually accessible discussion of human memory research Includes contributions from authors that represent a “who’s who” of human memory neuroscientists from the U.S. and abroad Supplemented with a variety of excellent and accessible diagrams to enhance comprehension

This book draws inspiration from Maurice Merleau-Ponty's concept of intercorporeality to offer a new, multidisciplinary perspective on the body. By drawing attention to the body's ability to simultaneously sense and be sensed, Merleau-Ponty transcends the object-subject divide and describes how bodies are about, into, and within other bodies. Such inherent relationality constitutes the essence of intercorporeality, and the chapters in this book examine such relationality from a host of diverse perspectives. The book begins with an introductory chapter in which the editors review the current research on bodily interaction, and introduce the notion of intercorporeality as a potentially integrative framework. The first section then offers four chapters devoted to clarifying theoretical and developmental perspectives on intercorporeality. Section 2 contains three chapters that provide insight on intercorporeality from evolutionary, historical, and cross-sectional perspectives. In Section 3, four chapters examine the intercorporeal nature of meaning-making during human interaction. Section 4 then presents three chapters that explore the intercorporeal nature of multi-agent interactions and the role that non-animate bodies (i.e., objects) play in such interaction. Throughout all the chapters, the authors work to integrate research in their specific discipline into the larger, transdisciplinary notion of intercorporeality. This collection provides an indisputably unique perspective on bodies-in-interaction, while simultaneously offering an interdisciplinary way forward in contemporary scholarship on bodies, meaning, and interaction.

Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood's best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits. The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre's limitations and open new paths of cinematic and philosophical exploration.