Abstract The paper examines the study by M. Knauff and E. May entitled "Mental Imagery, Reasoning and Blindness", which presents evidence that is relevant to the study of mental imagery in congenitally blind individuals. The paper also examines the study by A. Vanlierde and M.C. Wanet-Defalque entitled "The Role of Visual Experience in Mental Imagery", which examines the impact of visual experience on mental imagery formation. Additionally, the paper looks at a study by S. Lambert and colleagues entitled "Blindness and Brain Plasticity: Contribution of Mental Imagery?", which is concerned with the responses of the brain, particularly the primary visual area (PVA) in blind individuals during participation in mental imagery. The paper concludes that it appears that visual imagery does not occur in those blinded early in life but only in those who are blinded later in life.
Outline:
Visual Imagery and Interference
The Role of Visual Experience in Mental Imagery Blindness and Brain Plasticity
Summary and Conclusions
From the Paper "The study by Knauff and May (2006) focused predominantly on the interference which visual imagery may exert on reasoning ability. It does however also present evidence which is relevant to the study of mental imagery in congenitally blind individuals.
"The study cites several previous studies which have shown that there are differences in the use of visual images in sighted people and those who are congenitally blind. It has also been shown through these studies that the use of spatial reconstruction is not significantly different between the two groups. It is this information which was used as the basis for the experimental design which the study used. The hypothesis is also based upon this information, along with the information from previous studies which have shown that visual imagery interferes with reasoning where spatial imagery does not."
Abstract The paper researches the extent that imagery enhances the rehabilitation process, as well as the mechanisms involved in the effectiveness of imagery as a supplement to treatment. The paper examines three underlying theoretical frameworks that form a basis for the understanding of the relationship between the use of mental imagery and rehabilitation: the psychoneuromuscular theory, the symbolic learning theory and the bioinformational theory. The paper also discusses imagery techniques that maximize the effectiveness of mental imagery. The paper concludes that mental imagery has the potential to play a beneficial role in the rehabilitative process with different populations, including injured athletes and stroke patients.
Outline:
Theoretical Frameworks
Measurement Issues Involved in Imagery and the Rehabilitation Process
Strategies for the Enhancement of Rehabilitation Using Mental Imagery Concluding Comments
From the Paper "Evidence has indicated that imagery improves rehabilitation. Newsom et al. (2003) investigated this phenomenon through the assessment of whether the use of mental imagery of gripping results in the prevention of loss of grip strength that is associated with forearm mobilization. Thirteen female and five male students between the ages of 17 and 30 were randomly assigned to two groups. Both the groups experienced immobilization of their non-dominate forearm for ten days. The control group received no intervention, while the treatment group underwent three short mental imagery sessions each day. The treatment group imagined that they were squeezing a rubber ball. After the ten days, there was no significant change in the wrist flexion or wrist extension among the treatment group that used mental imagery techniques. The control group, however, demonstrated a significant decrease in wrist mobility and strength during the immobilization period. These findings indicate that mental imagery has potential utility for the prevention of strength and mobility loss associated with short-term muscle immobilization."
Abstract The author of the paper shows Shakespeare's skillful use of imagery in developing the character of Macbeth in the play. The paper shows that although imagery is used throughout the play, it is most dominant in appearances with clothing, light and darkness imagery, and blood imagery.
From the Paper "Using clothing imagery, Shakespeare develops Macbeth's character. This is evident, as, imagery of clothing shows us Macbeth's ambition, and the consequences thereof. We see this ambition, through Banquo, when he says, "New honors come upon him, / Like our strange garments, cleave not to the / mould" (144-146), meaning that new clothes do not fit our bodies, until we are accustomed to them. Throughout the entire play, Macbeth is constantly wearing new clothes, that are not his, and do not fit. "
Abstract This paper discusses two different approaches for understanding mental imagery as put forth by Stephen Kosslyn and Z.W. Pylyshyn, explaining that Kosslyn's more traditional view of mental image is pictorial or depictive while Zenon Pylyshyn argues that imagery is prepositional. The paper describes the empirical support for Kosslyn's theory as well as the criticisms of his theory, focusing primarily on Pylyshyn's criticism of Kosslyn's theory. The paper then elaborates on Pylyshyn's theory of mental imagery, pointing out that Pylyshyn's theory of mental imagery is not as accepted as Kosslyn's because what Pylyshyn is offering amounts to more of a rebuttal of Kosslyn's theory than an actual organized, principled theory of its own.
From the Paper "The central defining feature of Cognitive Psychology is the idea of representation (Tye 1991). All of cognitive science is built upon the premise that certain naturally evolved things in the world (namely neuronal states in the human head) have come to "refer to", "stand for", "mean", or represent certain features or facts of the natural world that are external to the head, and namely, the organism in general. Assuming this, one wants to elucidate the nature of how this is accomplished. How can a spongy, electrical mass of gray tissue represent all of one's knowledge and beliefs, one's hopes and fears, one's states of emotions and pain, and lastly, one's phenomenal experience of the world."
This paper helps to explain Coleridge's Biblical images, his reasons for using them, and what his positive spin on traditionally negative imagery means for spirituality post Enlightenment.
1,597 words (approx. 6.4 pages), 2 sources, 2000, $ 52.95
Abstract This paper examines biblical imagery in Samuel Taylor Coleridge's "Rime of the Ancient Mariner" and the way in which Coleridge's use of traditionally negative Christian imagery advocates a post Enlightenment renewal of religion through nature. Although his use of imagery and language is quite opposite to the advice given to poets by Wordsworth in the second edition of Lyrical Ballads, Coleridge accomplished many of the goals Wordsworth sets by emphasizing the importance of natural symbols in the spirituality of the mariner. This paper makes use of quotes by Wordsworth, Coleridge (from "Rime of the Ancient Mariner"), and the Bible.
From the Paper "Samuel Taylor Coleridge's ?The Rime of the Ancyent Marinere,? which begins the second volume of Lyrical Ballads, falls short of Wordsworth's appeal for simple imagery and language, but it is through the complexity of its imagery and language that the spiritual transformation that Wordsworth appealed to is expressed. By using biblical imagery early in the poem, and later using imagery that positively violates traditional Christian positive imagery in favor of imagery that valorizes nature, Coleridge iterates that spiritual change of Christianity to the new relationship between humankind and nature."
Abstract Many researchers have shown that mental imagery is extremely beneficial when it comes to memory. After examining several studies and experiments where imagery and rehearsal strategies were used to test memory, the paper concludes that imagery is a far better study technique than repetition. The paper also shows the benefits of memory studies such as helping teachers with lecture techniques, improving students study habits and providing researchers with a more clear understanding of what goes on in the human brain when dealing with memory.
From the Paper "Pictorial memory, using the imagery technique to recall, proved to be superior over verbal memory in a study done where subjects were presented with 18 picture pairs and 18 word pairs and were told to remember them according to either the imagery or repetition technique (Yarmey & Barker, 1971). Participants were given eight seconds to study each word pair and then were presented with a stimulus and asked to recall the second word in the pair. Results showed that imagery study was more effective than repetition study. Even when conducting a delayed test, retention of picture pairs was superior to word pairs. These results support the theory that pictorial stimuli are more easily differentiated and also subject to less interference than concrete nouns (Yarmey & Barker, 1971)."
This paper compares the use of snow imagery in "Snow Country" by Yasunari Kawabata and "The Dead" by James Joyce, especially the latent or implied meanings embedded in each snow image.
Abstract This paper explains that the use of imagery in literature, especially novels, is an effective tool, whereby a writer's thoughts can be conveyed more efficiently than by only using simple description. The author points out that, in "Snow Country" and ?The Dead,? there are three similarities in the way the authors used snow imagery: To describe vividly the settings, to set the mood for the gloomy and sad resolutions of the characters, and to serve as a "memory" of their lost loves. The paper concludes that there is one difference: Kawabata uses snow imagery as a tool for characterizing Komako, while Joyce uses snow as a symbol for the impending deaths of Miss Kate and Julia and the death of his love for Gretta.
From the Paper "The use of snow implies coldness and darkness, which is compatible to the feelings that Shimamura and Komako felt when they met in ?Snow Country.? Shimamura's dissatisfaction with life and Komako's unfortunate life lead them to lead a gloomy life, intensified by the mood of the environment they are in (in the "snow country"). Meanwhile, snow imagery becomes effective in "The Dead" as an impending gloom and threat to Gabriel Conroy for his loved ones, particularly his aunts and his wife, Gretta. The snow that the characters of both stories experience and witness echo their inner feelings and thoughts about their life, which is generally gloomy and somewhat mysteriously still."
Abstract This paper is a research proposal to study the effects of sports imagery training on novice athletes and athletes who enjoy their sport recreationally. The paper begins with an overview of the positive effects of sports imagery training and then looks at some of the studies done and literature available on the subject. The paper suggests a study that will seek to answer the questions as to whether or not sports imagery training is of value only to the professional athlete or if it can benefit athletes at all levels.
From the Paper "The positive effects of sports imagery training has been validated by athletes and trainers at the highest level of athletic competition. When the athlete visualizes the individual aspects of an athletic competition, they approach the event with more confidence, and are able to attain significantly higher scores. In one study, findings revealed that the Five Step Strategy, which includes mental readying, imaging, focusing, executing, and evaluation procedures, significantly influenced performance in tasks that were low cognitive demand and higher physical demand tasks. The study showed support for a hypothesis that performance in tasks appearing to contain a greater number of motor elements is enhanced more with the FSS than those having a high number of cognitive elements."
Abstract This paper reviews and discusses Shakespeare's use of imagery in his play 'Hamlet'. According to the paper, imagery has always played an important role in the work of Shakespeare and as much as the appearance of various motifs and interplay of images interest us, not many of us are familiar with what imagery really is.
From the Paper "Hamlet indeed offers very vivid, brilliant and vibrant imagery- mostly through Hamlet's own words and thoughts. It must be made clear that other characters including Claudius have made use of imagery but their imagery is neither as strong nor as free flowing as that of Hamlet's. According to Spurgeon, Hamlet's imagery mainly emerges from the use of symbols and metaphors derived from such bleak things as sickness and blemishes. The dominating image is thus that of tumor or ulcer.
When referring to his mother's incestuous crime, Hamlet calls it a blister on 'fair forehead of an innocent love'. Every word and line that he utters in that emotionally charged scene (Act 3, Scene 4) with his mother Gertrude is full of colorful images. For example instead of saying that heavens must be disgusted with her, Hamlet says: "Heaven's face doth glow....Is thought-sick at the act." And drawing her attention to his uncle, Hamlet says: "....Here is your husband, like a mildew'd ear Blasting his wholesome brother." Look at the rich adjectives that add meaning to the otherwise ordinary emotions of anger and shame. Hamlet then goes on to say that the appearance of his father's ghost should not be blamed on his madness but it is also a result of Gertrude's guilt. "
Abstract Although both Ernest Hemingway and Jean Toomer use nature imagery to great advantage in their short stories "Big Two-Hearted River" and "Blood-Burning Moon", the manner in which the imagery impacts the story is decidedly different. Hemingway paints a picture of nature and man as one symbiotic entity, showing, in his character Nick, a feeling of peace and of comradeship with the natural surroundings. Toomer uses nature as an omen, a boding message to the characters in the story, forewarning of evil and disaster. Both authors use nature images to paint their narrative pictures; both authors, however, paint very different pictures.
Abstract This paper examines the bluntness in the imagery of Carl Sandburg's poetry. Examples from several of Sandburg's poems are cited to demonstrate this stylistic technique. The paper also analyzes the messages Sandburg wished to convey in his poems through the use of imagery.
From the Paper "Another excellent example of Sandburg's use of imagery can be found in the poem ?Jaws.? In this poem, Sandburg provides us with a very unique vision of World War I, as well as voicing his anti-war views. In ?Jaws,? the poet paints a picture of seven nations with "their hands on the jaws of death" (Van Doren 446, 1) who had a chance to avoid the war, but chose against it. This decision is depicted in a somewhat nonchalant manner: the seven nations spoken of disregard the importance of the decision they are making "while I was listening, you were listening, the whole world was listening" and simply answer ?O Hell!? (11) and therefore start the clicking of the jaws of death. The imagery Sandburg invokes in this poem is one that mirrors his anti-war statement, as do many of his other poems, such as "Killers" and ?Wars.? "Killers" provides us with an image of "sixteen million men" who were chosen because of the "young warm blood in their wrists" and whose blood "runs on the green grass; and a red juice soaks the soil" (Hendrick 104, 6, 11). Again, Sandburg is able to convey a message successfully, no matter how difficult it may be to accept."
Abstract This paper examines how special effects have played a large part in the film industry since its initial birth. It looks at how it started with simple illusions and how it wasn't until the latter part of the 20th century that technology had progressed enough for these effects to begin to take on a highly evolved form of sophistication and depth and move toward what is today known as computer-generated imagery, or CGI. Through a review of films such as "Star Wars" and "Toy Story", it looks at how the field of computer-generated imagery requires, not only computer skills, but also basic art and animation skills.
From the Paper "As a teenager Edwin Catmull dreamed of becoming an animator. By the time he was old enough to begin to realize this dream he ran into two barriers that would prevent him from achieving his goal. The world of animation had come almost to a complete halt. The 1960s had resulted in only a few "dire, static efforts" at full-animated features due to the fact that animation was an immensely "labor-intensive" process that made the production of full, feature animated films a long and tedious procedure (McHugh). Secondly, Catmull discovered that he had no drawing talent. So he then settled on the pursuit of a degree in physics and computer science."
Abstract Symbolism and imagery play a big part in William Golding's novel, "Lord of the Flies", and much of the impact of the novel relies on the author's heavy, yet effective, use of it. This paper discusses several of the important symbols, including the beast, the fire, the painting of the boys' faces, Piggy's glasses, and the conch. Each of the symbols and/or imagery relates closely to the boys? behavior as a whole, the development of individual characters, and the important themes and messages that are evident throughout the novel.
From the Paper "As the island civilization deteriorates, the shell loses its power and influence among the boys. When Roger kills Piggy with the boulder and the shell is crushed, it signifies the complete demise of the civilized instinct among the boys on the island. Similarly, Piggy's glasses, the property of the most intelligent, rational member of the group, represent no t only civilization but science and its place amongst modern British society. This is most clearly demonstrated when Piggy's glasses are used to light the fire, making them a symbol of leadership, as the holder has the power to create fire, and also to destroy."
This paper discusses the use of imagery visualization therapy as a part of the professional nurse repertoire for the management of patient stress, anxiety, and depression
Abstract This paper explains that the process of healing though imagery can be understood as biological, psychological, and transpersonal. The author points out that nursing is, by nature, a holistic profession, taking into account the complex and diverse, yet interrelated, needs of the patient; therefore, alternative therapies are particularly applicable to the nursing profession. The paper relates that imagery therapy appears to have an intimate and primal association to the physical body via direct neural connections that link areas of the brain, which process the image, to other areas of the brain involved in emotion and to areas of the body involved in immunity, such as the thymus.
From the Paper "The term "alternative" is relatively new and became popular in the 1960's with the advent of the concept of holistic medicine. Alternative medicine and therapy was considered a new field and was usually not taught at medical schools. However, the situation has changed to a certain degree. While there are still those opposed to the implementation of alternative therapies, a greater number of professionals and critics are becoming aware of the positive aspects of alternative therapies, which often outweigh any negative aspects. Therapies such as imagery therapy are increasingly becoming part of the health care professional's repertoire."
Abstract This paper details Theodore Dreiser's use of imagery in his novel "Sister Carrie." The writer of this paper also provides a brief look at Dreiser's literary career in which the author has been praised for his fidelity to the facts of ordinary experiences as well as his criticism of bourgeois America. This paper details the areas of incidental animal imagery that run through the novel while citing the largest and most obvious group of images are detailed in the clustering around the sea, which for Dreiser was the symbol of modern urban life. These particular images are first introduced at the end of the chapter one. The writer also describes the plot and main characters in Dreiser's novel.
From the Paper "The most terrifying quality of Dreiser's society-sea, however, is not the width of the gulf between poverty and success, but the suggestions that those who attempt a crossing are without power to advance or remain anchored, that each traveler makes more perilous the plight of another, and that the port of success constantly shifts. The powerless travelers in this sea drift (the word is repeated at least a dozen times in the novel) on the tide; we are told that Carrie "felt the flow of the tide of effort and interest-felt her own helplessness without quite realizing the wisp on the tide that she was." This is naturally because on could only survive such a sea unaware of their fragility. Drouet, in fact, clowns his way through the whole novel "assured that he was alluring all, that affection followed tenderly in his wake." Whether or not Dreiser consciously intended the pun on Carrie's name, it is clear that he conceives of her as carried along by the sea, not moving by the exertions of her will."
