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Doppelgänger is a term drawn from the writing of Jean Paul Richter in his novel Siebenkäs. This term is examined and discussed in this chapter. It stands for the possibility of the existence of a double of a living person and therefore raises questions about the nature of the self and of mind too. The concepts of self and mind are explored and the implications for philosophy of mind are examined. The importance of attending to the empirical literature rather than using thought experiments is emphasized.
The concept of doppelgänger, or 'double' – a conceived exact but sometimes invisible replica of a living person – has fascinated and intrigued people for centuries. This notion has a long history and is a widespread belief among cultural groups around the world. Doppelgängers have influenced literature and cinema, with writers such as Fyodor Dostoyevsky and Robert Louis Stevenson, and directors like Alfred Hitchcock exploring the phenomenon to great effect. This book brings together the literary and cinematic with empirical scientific literature to raise fundamental questions about the nature of the self and the human mind. It aims to establish the experience of the self and unravel the brain processes that determine bodily representation and the errors that make possible the experience of the doppelgänger phenomenon. This book will appeal to psychiatrists, neurologists, and neuroscientists, as well as interested general readers.
Horse hybrids reveal a wide range of meanings. Since riding requires control of an animal much more powerful than the rider, it was a psychologically charged experience that found expression in hybrid figures of riders fused to their horses. Pegasos, the horse with wings, is the hero Bellerophon’s companion and makes it possible for him to slay another hybrid, Chimaira. The best-known horse hybrid is the centaur, but centaurs come in different varieties. Some are human to their toes, with a horse’s rear end jutting out of the middle of the creature’s human back. Others exhibit a human head and torso rising from the horse’s withers. Since the centaur is frequently used as a symbol of unrestrained lust, the change in form forces the viewer to consider uncomfortable questions regarding sexuality and animality. Yet centaurs are more than the embodiment of rampant sex drives, since the opposite of licentious behaviour is embodied by another centaur: Cheiron, the tutor of heroes. The centaur expresses the kaleidoscopic nature of being and identity in the Archaic Greek world.
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