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The concluding and final chapter of the book is the most interesting, because here Isaacson proposes a general theory of the limbic system and what it really does. His idea is very subtle--the limbic system is concerned with the selective inhibition of retroactive interference. This means it is involved with an extremely pervasive but subtle aspect of learning. He mentions Lethe, who was the Greek god of forgetfulness. He suggests the limbic system has a comparable role in the overall functioning brain. I thought this was very interesting idea.
I have been out of the field for some years now. At the time I predicted that the limbic system and cognitive neuroscience would become a big area. This was back in the late 70's. I can only say that this prediction was right on, based on what has happened since, what with books like Joseph Ledoux's The Emotional Brain and others having been written since that time.
But back when I was a grad student Isaacson's book was one of the only overall survey of limbic system research I could find, and it made for fascinating reading. It was through this great book that I first acquired a detailed understanding of structures such as the amygdala, hippocampus, septal nucleus, cingulate gyrus, and the other important limbic system areas.
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The six major categories of rhetorical criticism covered in this collection: (1) The Traditional Perspective, which includes the Neo-Aristotelian Approach (and Marie Hochmuth Nichols classic look at "Lincoln's First Inaugural") and the Historical Approach; (2) The Experiential Perpspective consists of the Eclectic and Epistemic approaches; (3) The Dramaturgical Perspective covers the Dramatistic Approach, Fantasy Theme Analyais, and the Narative Paradigm; (4) The Sociological Perspective presents the Sociolinguistics, Generic, Social Movements and Feminist approaches; and (5) The Postmodern Perspective has both the Constructionist and Deconstructionist approaches. These sections are bracketted by an introductory essay on rhetorical criticism and a concluding piece on "Decisions in Rhetorical Criticism."
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Told in first person by young (and I mean very young!) Nick Handy, Franklin’s young (and I mean very young) secretary, ward, and constant companion, the story moves along at a rapid pace, as Hall seems to be able to present the period--and characters--in a most interesting manner and fashion.
Ben and Nick are engaged to find the murderer (or murderers) in a series of slayings that threaten to close down the theatre! Franklin uses his
incredible powers of logic and deduction to get at the bottom of this and before a “final curtain” is drawn, naturally, he solves the case. “Murder in Druy Lane” is the third in this series and a good one it is. A good blending of fact and fiction, coupled with a excellent portrayal of his characters, makes Hall’s book one not to be missed.
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