College of Arts & Humanities

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The collections in this community comprise faculty research works, as well as graduate theses and dissertations.

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Now showing 1 - 6 of 6
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    Daggers of the Mind: Performing Madness and Mental Disorder on the Early English Stage
    (2023) Rio, Melanie; Passannante, Gerard; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Madness is such a popular device in early modern English drama that extant playscripts are littered with stage directions indicating that a character should enter “like a madman” or simply, “mad.” Because the public playhouse required the psychosomatic participation of actors and observers from every social class and category, it served as a unique cultural laboratory in which to explore questions of cognition, embodiment, identity, and interiority. Madness as a theatrical device also offers unique insight into the challenge of “performing” an invisible disability. This dissertation examines representations of madness in the early English playhouse—primarily in the works of works Shakespeare, but also considering works by Fletcher, Webster, Middleton, Armin, and others—as well as extradramatic primary sources such as court cases and physicians’ notebooks in order to demonstrate how intersecting indices of identity influence the construction and interpretation of early modern cognitive disorder.
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    Repositioning Cognitive Kinds
    (2022) Roige Mas, Aida; Carruthers, Peter; Philosophy; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This dissertation puts forward a series of theoretical proposals aimed to advance our understanding of cognitive kinds. The first chapter introduces the general debates that provide the philosophical underpinnings for the topics addressed in each of the following chapters. Chapter two compares and distinguishes between modules of the mind and mechanisms-as-causings, arguing that they should not be conflated in cognitive science. Additionally, it provides a novel “toolbox” model of accounts of mechanisms, and discusses what makes any such account adequate. Chapter three addresses the question of whether there is a role within the new mechanistic philosophy of science for representations. It advances a proposal on how to carve working entity types, so that they may include representational explanans. Chapter four offers an account of mental disorders, one that captures the regulative ideal behind psychiatry’s inclusion of certain conditions as psychopathologies. Mental disorders are alterations in the production of some mental outputs (e.g. behaviors, beliefs, emotions, desires), such that their degree of reasons-responsiveness is extremely diminished with respect to what we would folk-psychologically expect it to be.
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    Towards a Theory of Transmedial Immersion
    (2020) Frew, Kathryn Kaczmarek; Kraus, Kari; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Immersion names a physical, mental, and emotional state in which narrative can take control over a reader. Traditional theories of immersion, rooted in the metaphors of enchantment and transportation, assume that the boundaries of the text constitute the boundaries of the reader’s engagement with the story. In other words, if you close the book, immersion ends. Transmedia narratives, such as the Matrix franchise, challenge these assumptions because the story moves across media boundaries. By putting theories from disciplines such as psychology, cognitive science, narratology, and media studies in conversation and testing them against case studies of transmedia narratives, I propose a new theory of transmedial immersion that accommodates all narratives, particularly those crossing media boundaries. Transmedial immersion is the phenomenological experience of a narrative by which the features of the storyworld, characters, and plot become the primary focus of the reader/viewer/player’s consciousness. This immersion bleeds beyond the boundaries of the medium and narrative experience, allowing it to be individual or communal. As I show through a reading of the interaction of print text, augmented reality, and digital narrative in The Ice-Bound Concordance, transmedial immersion relies on distributed, rather than focused, attention, and embraces the materiality and hypermediacy of the reading/viewing/playing experience. Contrary to assumed effortlessness, transmedial immersion requires cognitive effort as readers collate and assemble all the aspects of the narrative. For example, players of the alternate reality games DUST and The Tessera use cognitive blending (as described by Mark Turner) to blur the ontological boundaries of fiction and reality, demonstrated in their use of metalepsis. Finally, transmedial immersion allows the narrative to be simultaneously enjoyed and critiqued, an approach Alexis Lothian calls “critical fandom.” The theory explains how Harry Potter fans reacted to the Fantastic Beasts movies by embracing Newt Scamander as an unlikely hero while raising concerns about cultural appropriation and queer representation. This theory of transmedial immersion not only provides a framework for understanding narrative engagement in the new media landscape, it also prompts literary scholars to reexamine how their assumptions about the process of reading, viewing, and playing texts in a single medium inform their criticism.
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    Thinking in Language?: Evolution and a Modularist Possibility
    (Cambridge University Press, 1998) Carruthers, Peter
    This chapter argues that our language faculty can both be a peripheral module of the mind and be crucially implicated in a variety of central cognitive functions, including conscious propositional thinking and reasoning. I also sketch arguments for the view that natural language representations (e.g. of Chomsky’s Logical Form, or LF) might serve as a lingua franca for interactions (both conscious and non-conscious) between a number of quasi-modular central systems. The ideas presented are compared and contrasted with the evolutionary proposals made by Derek Bickerton (1990, 1995), who has also argued for the involvement of language in thought. Finally, I propose that it was the evolution of a mechanism responsible for pretend play, circa 40,000 years ago, which led to the explosion of creative culture visible in the fossil record from that time onwards.
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    On Fodor's Problem
    (Blackwell Publishing, Ltd., 2003-11) Carruthers, Peter
    This paper sketches a solution to a problem which has been emphasized by Fodor. This is the problem of how to explain distinctively-human flexible cognition in modular terms. There are three aspects to the proposed account. First, it is suggested that natural language sentences might serve to integrate the outputs of a number of conceptual modules. Second, a creative sentence-generator, or supposer, is postulated. And third, it is argued that a set of principles of inference to the best explanation can be constructed from already-extant aspects of linguistic testimony and discourse interpretation. Most importantly, it is suggested that the resulting architecture should be implementable in ways that are computationally tractable.
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    Memorable Moments: A Philosophy of Poetry
    (2006-08-07) Ribeiro, Anna Christina Soy; Levinson, Jerrold; Philosophy; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In my dissertation I give a philosophical account of poetry from an analytic perspective--one that is also informed by studies in linguistic communication (pragmatics) and cognitive psychology, and that takes into account the many varieties of poetic traditions around the world. In chapter one I argue that philosophically rigorous study of poetry is long overdue, and that it should focus not on what poetry has in common with the other literary arts, but rather on what is distinct to it. In chapter two I give a cross-cultural history of poetry, showing the many types of features that are typical of the art form. From this history it emerges that beneath the variety of poetic traditions all over the globe lies a remarkably consistent set of features--the use of recurrence patterns. In chapter three I argue for an intentional-historical formalist definition of poetry according to which a poem is either (1) a verbal art object relationally or intrinsically intended to belong in the poetic tradition, or (2) a verbal art object intrinsically intended to involve use of repetition schemes (naïve poetry-making). In my fourth chapter I investigate the psychological reasons for poetry to have begun as and remained an art that relies on repetition devices, focusing on two non-literate groups: the illiterate trovadores of Northeastern Brazil, and pre-literate children. Both cases suggest an innate predisposition to attend to and produce linguistic recurrence structures of various, sometimes highly intricate, sorts. In my fifth chapter I consider the Relevance theory claim in pragmatics that, as a rule, repetition incurs extra linguistic processing effort, and that this must be outweighed by an increase in contextual effects, given the assumption of relevance. I argue that although this picture of poetic understanding is largely correct, repetition can also be seen as a cognitive facilitator, helping us draw connections that might have gone unnoticed without it. I conclude by exploring the contributions my approach to poetry may offer to other topics in aesthetics and philosophy art, such as aesthetic experience, aesthetic properties, and theories of interpretation.