Literature And The Brain

LITERATURE AND THE BRAIN goes straight to the human core of literature when it explains the different ways our brains convert stories, poems, plays, and films into pleasure. When we are deep into a film or book, we find ourselves "absorbed," unaware of our bodies or our surroundings. We don't doubt the existence of Spider-Man or Harry Potter, and we have real feelings about these purely imaginary beings. Our brains are behaving oddly, because we know we cannot act to change what we are seeing. This is only one of the special ways our brains behave to with literature, ways that LITERATURE AND THE BRAIN reveals. 474 pp. 13 ill.

For the neuroscientific community, the study suggests that different areas of research—the neurobiology of vision and reading, the brain-body interactions underlying emotions—may be connected to a variety of aesthetic and literary phenomena. For critics and students of literature, the study engages fundamental questions within the humanities: What is aesthetic experience? What happens when we read a literary work? How does the interpretation of literature relate to other ways of knowing?

An amazing and fascinating look at neurological conditions in fiction and film Classical and modern literature is full of patients with interesting neurological, cognitive, or psychiatric diseases, often including detailed and accurate descriptions, which suggests the authors were inspired by observations of real people. In many cases these literary portrayals of diseases even predate their formal identification by medical science. Fictional literature encompasses nearly all kinds of disorders affecting the nervous system, with certain favorites such as memory loss and behavioral syndromes. There are even unique observations that cannot be found in scientific and clinical literature because of the lack of appropriate studies. Not only does literature offer a creative and humane look at disorders of the brain and mind, but just as authors have been inspired by medicine and real disorders, clinicians have also gained knowledge from literary depictions of the disorders they encounter in their daily practice. This book provides an amazing and fascinating look at neurological conditions, patients, and doctors in literature and film in a way which is both nostalgic and novel.

Featuring a foreword by renowned neuroscientist Joseph E. LeDoux, The Elusive Brain is an illuminating, comprehensive survey of contemporary literature’s engagement with neuroscience. This fascinating book explores how literature interacts with neuroscience to provide a better understanding of the brain’s relationship to the self. Jason Tougaw surveys the work of contemporary writers—including Oliver Sacks, Temple Grandin, Richard Powers, Siri Hustvedt, and Tito Rajarshi Mukhopadhyay—analyzing the way they experiment with literary forms to frame new views of the immaterial experiences that compose a self. He argues that their work offers a necessary counterbalance to a wider cultural neuromania that seeks out purely neural explanations for human behaviors as varied as reading, economics, empathy, and racism. Building on recent scholarship, Tougaw’s evenhanded account will be an original contribution to the growing field of neuroscience and literature.

Since Dr. Brizendine wrote The Female Brain ten years ago, the response has been overwhelming. This New York Times bestseller has been translated into more than thirty languages, has sold nearly a million copies between editions, and has most recently inspired a romantic comedy starring Whitney Cummings and Sofia Vergara. And its profound scientific understanding of the nature and experience of the female brain continues to guide women as they pass through life stages, to help men better understand the girls and women in their lives, and to illuminate the delicate emotional machinery of a love relationship. Why are women more verbal than men? Why do women remember details of fights that men can’t remember at all? Why do women tend to form deeper bonds with their female friends than men do with their male counterparts? These and other questions have stumped both sexes throughout the ages. Now, pioneering neuropsychiatrist Louann Brizendine, M.D., brings together the latest findings to show how the unique structure of the female brain determines how women think, what they value, how they communicate, and who they love. While doing research as a medical student at Yale and then as a resident and faculty member at Harvard, Louann Brizendine discovered that almost all of the clinical data in existence on neurology, psychology, and neurobiology focused exclusively on males. In response to the overwhelming need for information on the female mind, Brizendine established the first clinic in the country to study and treat women’s brain function. In The Female Brain, Dr. Brizendine distills all her findings and the latest information from the scientific community in a highly accessible book that educates women about their unique brain/body/behavior. The result: women will come away from this book knowing that they have a lean, mean, communicating machine. Men will develop a serious case of brain envy.

The brain ... There is no other part of the human anatomy that is so intriguing. How does it develop and function and why does it sometimes, tragically, degenerate? The answers are complex. In Discovering the Brain, science writer Sandra Ackerman cuts through the complexity to bring this vital topic to the public. The 1990s were declared the "Decade of the Brain" by former President Bush, and the neuroscience community responded with a host of new investigations and conferences. Discovering the Brain is based on the Institute of Medicine conference, Decade of the Brain: Frontiers in Neuroscience and Brain Research. Discovering the Brain is a "field guide" to the brainâ€"an easy-to-read discussion of the brain's physical structure and where functions such as language and music appreciation lie. Ackerman examines: How electrical and chemical signals are conveyed in the brain. The mechanisms by which we see, hear, think, and pay attentionâ€"and how a "gut feeling" actually originates in the brain. Learning and memory retention, including parallels to computer memory and what they might tell us about our own mental capacity. Development of the brain throughout the life span, with a look at the aging brain. Ackerman provides an enlightening chapter on the connection between the brain's physical condition and various mental disorders and notes what progress can realistically be made toward the prevention and treatment of stroke and other ailments. Finally, she explores the potential for major advances during the "Decade of the Brain," with a look at medical imaging techniquesâ€"what various technologies can and cannot tell usâ€"and how the public and private sectors can contribute to continued advances in neuroscience. This highly readable volume will provide the public and policymakersâ€"and many scientists as wellâ€"with a helpful guide to understanding the many discoveries that are sure to be announced throughout the "Decade of the Brain."

"A brilliant examination of literary invention through the ages, from ancient Mesopotamia to Elena Ferrante, showing how writers created technical breakthroughs as sophisticated and significant as any in science, and in the process, engineered enhancements to the human heart and mind"--

An original interdisciplinary study positioned at the intersection of literary theory and neuroscience. "Literature matters," says Paul B. Armstrong, "for what it reveals about human experience, and the very different perspective of neuroscience on how the brain works is part of that story." In How Literature Plays with the Brain, Armstrong examines the parallels between certain features of literary experience and functions of the brain. His central argument is that literature plays with the brain through experiences of harmony and dissonance which set in motion oppositions that are fundamental to the neurobiology of mental functioning. These oppositions negotiate basic tensions in the operation of the brain between the drive for pattern, synthesis, and constancy and the need for flexibility, adaptability, and openness to change. The challenge, Armstrong argues, is to account for the ability of readers to find incommensurable meanings in the same text, for example, or to take pleasure in art that is harmonious or dissonant, symmetrical or distorted, unified or discontinuous and disruptive. How Literature Plays with the Brain is the first book to use the resources of neuroscience and phenomenology to analyze aesthetic experience. For the neuroscientific community, the study suggests that different areas of research—the neurobiology of vision and reading, the brain-body interactions underlying emotions—may be connected to a variety of aesthetic and literary phenomena. For critics and students of literature, the study engages fundamental questions within the humanities: What is aesthetic experience? What happens when we read a literary work? How does the interpretation of literature relate to other ways of knowing?