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ORIGINS OF MODERN MIND

Name: ORIGINS OF MODERN MIND
Author: Merlin Donald
ISBN: 0-674-64483-2

THREE STAGES IN THE EVOLUTION OF CULTURE AND COGNITION

by Merlin Donald ‧ RELEASE DATE: Oct. 1, 1991

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``The modern era, if it can be reduced to any single dimension, is especially characterized by its obsession with symbols and their management.'' So says Donald (Psychology/Queen's Univ., Kingston, Ontario), echoing the philosopher Ernst Cassirer a generation ago—with a difference. Whereas countless philosophers since Aristotle have attempted to define what is quintessentially human, Donald brings new knowledge of neuropsychology, ethology, and archaeology to propose a tripartite theory of the transition from ape to man. Using the fossil evidence of braincase size and tool-kit remains, Donald concludes that the australopithecines were limited to concrete/episodic minds: bipedal creatures able to benefit from pair-bonding, cooperative hunting, etc., but essentially of a seize-the-moment mentality. The first transition was to a ``mimetic'' culture: the era of Homo erectus in which mankind absorbed and refashioned events to create rituals, crafts, rhythms, dance, and other prelinguistic traditions. This was followed by the evolution to mythic cultures: the result of the acquisition of speech and the invention of symbols. The third transition carried oral speech to reading, writing, and an extended external memory- store seen today in computer technology. This summary, however, does not do justice to Donald's careful analysis of rival theories as well as his mining of the neuroanatomical and neurological literature, presenting, for example, evidence of the distribution of language skills across both hemispheres. He gets high marks, too, for pointing out how often cognitive theories become caught up in the trap of the homunculus—the little man in the brain who presides over all our conscious activities. Needless to say, his theory is open to challenge as well (the relation of mimesis to language; the constant reliance on computer metaphors; and, ultimately, the use of Western tradition as the paradigm of human evolution). Withal, a fine, provocative and absorbing account of what makes humans human.

Pub Date: Oct. 1, 1991

ISBN: 0-674-64483-2

Page Count: 448

Publisher: Harvard Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1991

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.