THE FORM WITHIN is the fascinating story of two hundred years of pioneering brain research, told from the unique perspective of the only brain scientist who has been, and still remains, an active participant in that story throughout the past seventy years: Karl H. Pribram. In THE FORM WITHIN, Dr. Pribram takes us on a compelling journey from the dawn of our collective “recorded perceptions” in cave paintings to our greatest achievements as a species. He explains the important task of mapping the brain; the discovery of our holographic processing of memory and perception; and the detailed research that has created our understanding of self-organizing biological systems. Along the way, Pribram shares the intimate interactions he has had with luminaries of twentieth-century science, including David Bohm, Francis Crick, John Eccles, Dennis Gabor, Hubel and Wiesel, Wolfgang Kohler, Karl Lashley, Aleksandr Romanovitch Luria, Ilya Prigogine, B. F. Skinner, Eugene Sokolov, and many others. But this riveting glimpse into our past is only a part of the story. Pribram also provides us with insightful breakthroughs into a science of the future, and points the way to where our understanding of the brain is headed.

In The Unity of Content and Form in Philosophical Writing, Jon Stewart argues that there is a close relation between content and form in philosophical writing. While this might seem obvious at first glance, it is overlooked in the current climate of Anglophone academic philosophy, which, Stewart contends, accepts only a single genre as proper for philosophical expression. Stewart demonstrates the uniformity of today's philosophical writing by contrasting it with that of the past. Taking specific texts from the history of philosophy and literature as case studies, Stewart shows how the use of genres like dialogues, plays and short stories were an entirely suitable and effective means of presenting and arguing for philosophical positions given the concrete historical and cultural contexts in which they appeared. Now, Stewart argues, the prevailing intolerance means that the same texts are dismissed as unphilosophical merely due to their form, although their content is, in fact, profoundly philosophical. The book's challenge to current conventions of philosophical is provocative and timely, and will be of great interest to students and scholars of philosophy, literature and history.

The Politics of Form in Greek Literature explores the relationship between form and political life specifically in Greek textual culture. In the last generation or so, classicists (and their counterparts in other disciplines) have begun to pay greater attention to the socio-historical contexts of literary production and sought to historicize aesthetic practice. However, historicism (and in particular New Historicism) is only one mode of approaching the question of form, which is increasingly brought into dialogue with a number of other issues (e.g. gender). Bringing together contributions from a range of experts, this volume examines these and other related approaches, assessing their limitations and discussing possibilities for the future. Individual chapters discuss an array of ancient authors, including Homer, Sophocles, Euripides, Plato, Aristotle, Callimachus, and more, and sketch out the specifically Greek contribution to the debate, as well as the implications for other disciplines. What emerges from this book are new ways of thinking about form, and indeed about politics, that will be of value to scholars and students across the humanities and social sciences.

Reprint of the original, first published in 1875.

A. B. Marx was one of the most important German music theorists of his time. Drawing on idealist aesthetics and the ideology of Bildung, he developed a holistic pedagogical method as well as a theory of musical form that gives pride of place to Beethoven. This volume offers a generous selection of the most salient of his writings, the majority presented here in English for the first time. It features Marx's oft-cited but little understood material on sonata form, his progressive program for compositional pedagogy and his detailed critical analysis of Beethoven's 'Eroica' Symphony. These writings thus deal with issues that fall directly among the concerns of mainstream theory and analysis in the last two centuries: the relation of form and content, the analysis of instrumental music, the role of pedagogy in music theory, and the nature of musical understanding.

Scholars and critics have long recognized the need for ethical criticism to address not only the idea-content but also the morphological aspects of narrative, yet the search continues for ways to study the ethics of narrative form. In Towards the Ethics of Form in Fiction: Narratives of Cultural Remission, Leona Toker suggests a method of linking formal features of narratives with the types of moral vision that they represent.Toker is especially interested in cultural remissions such as the carnivalesque-that is, the inverting of standard cultural hierarchies or the blurring of boundaries between normally separated social groups, actors and audiences, self and other. She argues that cultural remissions have the potential not simply to provide a break from the determinacies of our quotidian existence but also to return us to that existence with some alteration of our perceptions, beliefs, and values. Toker contends that the ethical consequences of reading fiction result from features of its aesthetics, particularly what she calls, following the semiotician Louis Hjemslev, "the form of the content"-the patterns arising from the artistic deployment of narrative details. In addition to addressing the carnivalesque discourse of Bakhtin as well as the theory of oppositionality developed by de Certeau and Chambers, she puts theory into practice through detailed analyses of canonical texts by Fielding, Sterne, Austen, Hawthorne, Dickens, Conrad, Joyce, and other writers.

During the sixteenth century in England the logocentrism of the Middle Ages was confronted by a materialism that heralded the modern world. With remarkable tenacity in music, poetry, and painting, the orthodox aesthetic persisted as formal features which served as nonverbal signs and provided a subtext of form. In opposition, however, a radical aesthetic emerged to accommodate the new attention to physical nature. The growing force of materialism occasioned a fundamental rethinking of what an artifact might represent and how that representation might be achieved. This book explores the ontological and epistemological issues that poststructuralist thought raises about that shift in our cultural history. In doing so, it charts a course for Renaissance studies, now in disarray, that avoids the old positivism while not succumbing to the new nihilism.