The temporal‐focus hypothesis claims that whether people conceptualize the past or the future as in front of them depends on their cultural attitudes toward time; such conceptualizations can be independent from the space–time metaphors expressed through language. In this paper, we study how Chinese people conceptualize time on the sagittal axis to find out the respective influences of language and culture on mental space–time mappings. An examination of Mandarin speakers' co‐speech gestures shows that some Chinese spontaneously perform past‐in‐front/future‐at‐back (besides future‐in‐front/past‐at‐back) (...) gestures, especially when gestures are accompanying past‐in‐front/future‐at‐back space–time metaphors (Exp. 1). Using a temporal performance task, the study confirms that Chinese can conceptualize the future as behind and the past as in front of them, and that such space–time mappings are affected by the different expressions of Mandarin space–time metaphors (Exp. 2). Additionally, a survey on cultural attitudes toward time shows that Chinese tend to focus slightly more on the future than on the past (Exp. 3). Within the Chinese sample, we did not find evidence for the effect of participants' cultural temporal attitudes on space–time mappings, but a cross‐cultural comparison of space–time mappings between Chinese, Moroccans, and Spaniards provides strong support for the temporal‐focus hypothesis. Furthermore, the results of Exp. 2 are replicated even after controlling for factors such as cultural temporal attitudes and age (Exp. 3), which implies that linguistic sagittal temporal metaphors can indeed influence Mandarin speakers' space–time mappings. The findings not only contribute to a better understanding of Chinese people's sagittal temporal orientation, but also have additional implications for theories on the mental space–time mappings and the relationship between language and thought. (shrink)

The rapid development of artificial intelligence has brought many opportunities and challenges to organization. Some studies have shown that AI can improve organizational creativity. However, the existing research lacks an effective transformation path. This paper makes an innovative approach from the perspective of knowledge sharing, establishes an integration model of artificial intelligence capability, knowledge sharing and organizational creativity. Based on 189 questionnaire data, we use multi-level regression analysis and bootstrap method to analyze the influence mechanism. The results show that artificial (...) intelligence has a positive effect on knowledge sharing, knowledge sharing has a positive effect on organizational creativity, knowledge sharing mediates the relationship between artificial intelligence and organizational creativity, and organizational cohesion has a positive moderating effect on the relationship between artificial intelligence and knowledge sharing. The results supplement the existing research on the relationship between artificial intelligence capability and organizational creativity, expand the theoretical boundary and application space from the perspective of knowledge sharing at the organizational level, and provide reference for organizations to improve creativity. (shrink)

The energy spectra for two electrons in a parabolic quantum dot are calculated by the quantization rule approach. The numerical results are in excellent agreement with the results by the method of integrating directly the Schrödinger equation, and better than those by the WKB method and the WKB-DP method.

China apparel customization brands have been recently growing in massive quantities despite being in their infancy stages of brand value building. Although scholars have proven brand value’s importance in sustainable brand growth, studies on the specific context of CACBs are still limited. This research proposes a conceptual framework of CACBs’ brand value measured dimension based on previous studies and divides brand value into both general and specific dimensions. Accordingly, qualitative and quantitative studies were conducted from the perspectives of practitioners and (...) consumers. Ultimately, a scale of 30 items with nine dimensions was generated. Results reveal that brand association in the general dimensions and brand service in the special dimensions were the largest promoters of CACB brand value. Hence, practitioners should pay more attention to dimensions of cognitive conflicts. Practical suggestions for apparel customization marketers are proposed to build and enhance brand value. (shrink)

During the COVID-19 pandemic, online education has become an important approach to learning in the information era and an important research topic in the field of educational technology as well as that of education in general. Teacher–student interaction in online education is an important factor affecting students’ learning performance. This study employed a questionnaire survey to explore the influence of teacher–student interaction on learning effects in online education as well as the mediating role of psychological atmosphere and learning engagement. The (...) study involved 398 college students studying at Chinese universities as the research object. Participants filled out a self-report questionnaire. The study found that the level of teacher–student interaction positively affected students’ learning effects. The psychological atmosphere mediated the positive effect of the level of teacher–student interaction on learning effects with mediating effect value of 0.1248. Learning engagement mediated the positive effect of teacher–student interaction on learning effects with a mediating effect value of 0.1539. The psychological atmosphere and learning engagement play a chain-mediating role in the mechanism of teacher–student interaction affecting students’ learning effects; that is, teacher–student interaction promotes students’ learning engagement by creating a good psychological atmosphere, which, in turn, influences learning effects. The mediating effect value was 0.0403. The results indicate that teacher–student interaction not only directly affects students’ learning effects but also influences students’ learning effects through the mediating effect of the psychological atmosphere and learning engagement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought by Jing YuanRun Gu (bio)Lou Chuan Zai Jiu: Yanyi zhi Bian yu Wei-Jin Liu Chao Sixiang Xueshu Yangjiu 漏船载酒: 言意之辨与魏晋六朝思想学术研究 (A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought). By Jing Yuan 袁晶. Shanghai: Shanghai People's Press, 2022. Pp. 247. Paperback RMB23.93, isbn (...) 978-7-208-17567-9.In A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought (hereafter A Leaky Boat Holding Wine), Jing Yuan offers a careful review and critical evaluation of one of the major philosophical topics in the Wei-Jin period, namely, the word-meaning (Yanyi 言意) debate. In several previous publications, Yuan has addressed the word-meaning controversy from different angles and in various classics, including Prajnaparamita and The Analects.The word-meaning debate, as Yuan explains, can be interpreted as a conflict between cognition and expression, and reveals a series of contradictions and conflicts in ontology, epistemology, and philosophy of life among scholars in the Wei-Jin period. The debate refers to the controversy on whether words can fully express meaning or not. It departs from the relationships between word and meaning to critically evaluate their functions and limitations, and mainly consists of two ways of thinking: "distinguishing names, analyzing principles" (bian ming xi li 辯名析理) and "getting the meaning, forgetting the words" (de yi wang yan 得意忘言). Although this debate had already developed in China for quite some time, it was only prevalent as a common philosophical theme in the Wei-Jin period, a time characterized by social disorder and endless war. The metaphor in the book title, "a leaky boat holding wine," is from one of Lu Xun's (1881) poems, illustrating that although people use words as a tool to express meaning, it is impossible for words to convey all meaning. Yuan uses the metaphor to refer to the capacity of a word to carry meaning, and indicates that human thought and expression are inseparable from words, but cannot be entirely restricted to them.The book is organized in chronological order, and readers can easily grasp how the word-meaning debate was developed and reshaped in different periods, responding to various social-political contexts. Chapter 1 starts with the origin of the debate in the early Qin period. The author provides a solid examination of relevant theories and high-quality secondary literature. She clearly demonstrates that both early Daoist and Confucian thinkers were involved in the debate, and [End Page 1] that it aimed to describe a core ontology--or a search for the principles of the cosmos--and understand various other aspects of the world, including natural cycles and social ethics. Confucius advocated a metaphorical grasp of the Dao, transforming epistemology into practical philosophy. He held a critical attitude toward the relationship of word and meaning, arguing that words could express meaning because people could use them to influence the state and society. Confucius also believed that Dao, as an imaginative and contextual concept, could not be expressed through words.In contrast, Zhuangzi--"the most significant source of inspiration for Neo-Daoism (Metaphysics) in the Wei-Jin period" (p. 70)--focuses on the limitations of the function of words to convey meaning, highlighting the ineffable nature of Dao. Zhuangzi's concept of Dao, according to Yuan, is always beyond the reach of our senses and can only be attained through an intuitive grasp of reality: through the ability to reach an epiphany and perceive through the mind, even when not observing through physical means. It is only with an intuitive way of thinking that one can identify the ultimate noumenon and grasp the idea of Dao when words cannot contain it. In Zhuangzi's epistemology, Dao is grasped using a method of knowing that transcends ordinary sense perception, knowledge or rationality, and provides a non-logical intuition and an experience of a practical nature that transcends knowing.On this basis, the author brings together ancient and current research on the word-meaning debate, to critically assess the impact of Zhuangzi... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. In ancient (...) Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

內容介紹 本書為作者的清華大學博士論文。朴柄久對孟子與丁若鏞「內聖外王」思想的成因、內容、性質作了系統的梳理。全書既有對文本與史實的宏觀把握，又有有深度的理論分析，在此基礎上對孟子、丁若鏞「內聖外王」思想的理論 架構、基本內涵、兩者異同、繼承關係以及丁若鏞「內聖外王」思想的積極成分、消極成分作了客觀評價，對丁若鏞「內聖外王」思想的現實價值有精闢的論述，基本上做到了「持之以故、言之成理」。.

本书以苏格拉底、柏拉图、亚里斯多德三人为主题, 剖析其学术旨趣与彼此间的思想传承.

Study on Harikathāmr̥tasāra, Kannada work on Dvaita philosophy as propounded by Madhva, 13th cent., by Jagannāthadāsa, 1728-1809, in the context of Vaishnavism.

Riben Jiuzhou da xue tu shu guan cang you gu xie Huizhou ben "Zhuzi yu lei" yi bai si shi juan. Huizhou ben shang cheng "Chi lu", xia qi li bian, zai yu lu dao yu lei de xing cheng guo cheng zhong chu yu guan jian de di wei, dui xue jie yan jiu zhu xi si xiang de xing cheng guo cheng, Zhu Xi men ren de qing kuang, jin ben "Zhuzi yu lei" de xing cheng guo cheng (...) yi ji zhong gu shi qi gu Han yu bai hua, ti gong le xin de cai liao he xin de shi ye. (shrink)

哲學的有限性問題涉及認識論、生存論等維度，中國哲學在有限性問題上的認識複雜多端。書稿揭示了中國哲學史上有限性概念的主要內涵、流變及其消失。主要論述了先秦儒道兩家（包括孔子、思孟學派、《周易》、荀子、莊 子）對界限的認可，及宋明理學、內丹學等後世儒道學派對這一維度的轉變。並分析了中國思想史上有限性維度的困境及其消失，包括墨家的反對等等，進而論證了中國古代傳統中有限性維度消失在思維方式上的原因，包括中國 哲學宋代以後整體轉向內省的思維向度等。.

本书以中国文艺审美的民族心理特征与哲学思维向度为基点, 对中国古典文艺美学的"表现"范型进行"扫描", 在"表现"层面对中国古典文艺美学进行新的探索, 彰显了中国古典文艺美学与西方古典文艺美学不同的美学趣味, 并进而探索了中国文艺理论古为今用个有效途径.

本書構畫「忠」概念在中國春秋戰國時代的演變，並嘗試藉此闡明其功能與特質。在春秋到戰國早期的政治思想中，「忠」和「忠信」概念對於國家社稷的生存幾乎是最高價值，而且到戰國中期更具有涵蓋「天下」的普遍性。然 而在戰國中期以後，道家與稷下思想家如慎到等人開始批判「忠」的價值，並且將原本以道德動機為主要內涵的「忠」概念、轉變成以個人利益為主要實踐動機的「忠」概念。面對此趨勢，戰國晚期的《荀子》和《呂氏春秋》都 試圖重新界定「忠」對國家運作的正面價值，而《韓非子》雖然基本上接受稷下學者之「反忠論」，但還是肯定「忠臣」是國家社稷安定的關鍵角色。本書也對中日韓及歐美學者過去研究「忠」概念的成果有詳細評述。.

本书对西方的审美范式演变作了一个比较深入具体和系统的研究,包括从古典范式到浪漫范式,以及从浪漫范式到现代范式的演变。.