In the introduction to the Art of Seduction author Robert Greene explains why there was an original need for seduction to be developed into an art. For this we can look back to ancient civilizations where women were essentially a commodity. They had no overt external power to control their fates, but they excelled (and still do) at covert psychological internal power, and this of course finds a parallel in men and women’s preferred communication methods. The feminine’s primary agency has always been sexuality and manipulating influence by its means.
Sayfa 118Kitabı okudu
In his famous study Practical Criticism (1929), the Cambridge critic I. A. Richards sought to demonstrate just how whimsical and subjective literary value-judgements could actually be by giving his undergraduates a set of poems, withholding from them the titles and authors' names, and asking them to evaluate them. The resulting judgements, notoriously, were highly variable: time-honoured poets were marked down and obscure authors cel- ebrated. To my mind, however, much the most interesting aspect of this project, and one apparently quite invisible to Richards himself, is just how tight a consensus of unconscious valuations underlies these particular differ- ences of opinion. Reading Richards' undergraduates' accounts of literary works, one is struck by the habits of perception and interpretation which they spontaneously share - what they expect literature to be, what assump- tions they bring to a poem and what fulfilments they anticipate they will derive from it. None of this is really surprising: for all the participants in this experiment were, presumably, young, white, upper- or upper-middle-class, privately educated English people of the 1920s, and how they responded to a poem depended on a good deal more than purely 'literary' factors. Their critical responses were deeply entwined with their broader prejudices and beliefs. This is not a matter of blame: there is no critical response which is not so entwined, and thus no such thing as a 'pure' literary critical judge- ment or interpretation.
Sayfa 13
Although it is said that absence makes the heart grow fonder, an absence too early will prove deadly to the crystallization process. (…), you must surround your targets with focused attention, so that in those critical moments when they are alone, their mind is spinning with a kind of afterglow. Do everything you can to keep the target thinking about you. Letters, mementos, gifts, unexpected meetings—all these give you an omnipresence. Everything must remind them of you.
Sayfa 283 - 12-Poeticize Your PresenceKitabı okudu
Farkındalık seviyesine bak :0
The psychologists Kristine Onishi and Renee Baillargeon showed that fifteen-month-olds can anticipate a person’s behavior on the basis of his or her false belief. Babies watched as an adult looked at an object in one box, then observed the object move to another box while the adult’s eyes were covered. Later on, they expected the adult to reach into the original box, not the box that actually contained the object. This is a sophisticated psychological inference, the sort of rich understanding of other minds that most psychologists used to believe only four- and five-year-olds were capable of.
Criminal Minds
Seri katillerin zekâlarının toplumun genel düzeyinin üzerinde olduğu düşünülür. Öyle ya, on, yirmi, elli kişi öldürüp de hâlâ yakalanamamışsa mutlaka zeki olmalı, değil mi?
Neyse ki katiller genelde fazla zeki olmadıklarının ötesinde, bir hayli pasaklı, dikkatsiz ve akılsız olduklarından, geride bıraktıkları kanıtlar sayesinde, pek heveslendikleri halde seri katil kategorisine ulaşamadan yakayı ele verirler.
‘Among the penalties, and in the way of applying them in proportion to the offences, one must choose the means that will leave the most lasting impression on the minds of the people, and the least cruel on the body of the criminal’ (Beccaria, 87).
