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By M. Pizzato

Ghosts of Theatre and Cinema in the mind makes a speciality of the staging of Self and different as phantom characters contained in the mind (in the "mind's eye," as Hamlet says). It explores the brain's anatomical evolution from animal drives to human awareness to divine aspirations, via specified cultural expressions in degree and reveal applied sciences. Even-numbered chapters examine particular dramas with ghost characters from the traditional Egyptians, Greeks, and Romans to Shakespeare, jap Noh, glossy drama, and up to date motion pictures. Odd-numbered chapters learn a variety of intersections of psychoanalytic and neuroscientific theories to discover the brain's internal theatre, relating to ghosts and gods played onstage and onscreen, as extensions of and connections among diversified brains specifically cultures.

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Thus, the ghosts and gods of Self and Other emerge through physical aspects of the human brain (considered in the oddnumbered chapters here) and various cultural apparitions onstage and onscreen (explored in the even-numbered chapters). 10 This relates to certain Freudian theories, which can now be demonstrated empirically, according to Ramachandran: denial, repression, reaction formation (asserting the opposite), rationalization, and humor—as defense mechanisms of the conscious mind against unconscious contradictions (153–55).

A few remains have been found with fauna placed in the hands or the body, along with red ocher, a colored pigment possibly used for symbolic ritual. Some Neandert[h]als were buried together, meaning that entire kin groups remained united after death. (Ramanan) Various species of medicinal flowers were placed on the body at one site (Solecki 249). The “orderly distribution of pollen grains” indicates that the flowers were “arranged deliberately” (Leaky and Lewin, Origins 125). 5 “The placement of heavy stone slabs upon their graves may also be seen as impeding their dead from 28 Ghosts of Theatre and Cinema in the Brain returning.

20 Orestes analyzes his mother’s dream as her guilty desire for self-destruction through her own child. She placed him in that role of snake from her womb to receive a dying jouissance (erotic ecstasy), as predicted in her dream. Orestes uses his internal theatre, his mind’s preselective environment, to enter his mother’s internal theatre of the reported dream, reimagining his role as a snake on that Imaginary/Symbolic stage, before acting it out in the Real. He thus presents to the external theatre audience an intersection of past fantasy and future action, of his mother’s mind and his own, as climax to their erotic, death-drive conflict.

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