A fundamental aspect of human cognition is the ability to parse our constantly unfolding experience into meaningful representations of dynamic events and to communicate about these events with others. How do we communicate about events we have experienced? Influential theories of language production assume that the formulation and articulation of a linguistic message is preceded by preverbal apprehension that captures core aspects of the event. Yet the nature of these preverbal event representations and the way they are mapped onto language (...) are currently not well understood. Here, we review recent evidence on the link between event conceptualization and language, focusing on two core aspects of event representation: event roles and event boundaries. Empirical evidence in both domains shows that the cognitive representation of events aligns with the way these aspects of events are encoded in language, providing support for the presence of deep homologies between linguistic and cognitive event structure. (shrink)

Automatic detection of information changes in the visual environment is crucial for individual survival. Researchers use the oddball paradigm to study the brain’s response to frequently presented stimuli and occasionally presented stimuli. The component that can be observed in the difference wave is called visual mismatch negativity, which is obtained by subtracting event-related potentials evoked by the deviant from ERPs evoked by the standard. There are three hypotheses to explain the vMMN. The sensory fatigue hypothesis considers that weakened neural activity (...) caused by repetition results in decreased ERPs of the standard. The memory trace hypothesis proposes that vMMN results from increased responses to the deviant. The predictive coding hypothesis attributes the difference to enhanced responses for deviants and suppression for standards. However, when distinguishing between these effects, previous researchers did not consider the effect of low-level features on the vMMN. In this experiment, we used face sequences composed of different emotions and presented an oddball sequence, a reverse oddball sequence, and an equiprobable sequence to participants. The deviant of the oddball sequence was subtracted from the standard of the oddball sequence, the reverse oddball sequence, and the same type of stimulus of the equiprobable sequence to get oddball-vMMN, reverse oddball-vMMN, and equiprobable-vMMN, respectively. The results showed no significant difference between vMMN2 and vMMN3 in 100–350 ms following stimulus onset, while the vMMN effect was significant, indicating that the probability of the standard did not affect vMMN, which supported the memory trace hypothesis. Additionally, the fearful-related vMMN were more negative than the neutral-related vMMN within the range of 100–150 ms, suggesting a negative bias. We analyzed the source location of different vMMNs. There was no significant difference in brain regions between different vMMNs. Time-frequency analysis showed that the deviant had stronger theta-band oscillatory than the standard. However, there was no difference between vMORs2 and vMORs3, indicating that vMORs reflect an enhanced response to the deviant in terms of neural oscillation, supporting the memory trace hypothesis. (shrink)

本书从思维、逻辑、方法的视角,将思维科学与逻辑科学、现代逻辑与辩证逻辑的知识统一在一个有机体系中,探讨了辩证逻辑的规律与创造思维的方法。.

本书主要介绍了先秦、汉代、宋代、近代四个时期传统义利思想的历史发展及中国传统义利思想对日本义利观的影响。.

本书内容包括:传统逻辑在知识创新中的作用、数理逻辑在知识创新中的作用、哲学逻辑在知识创新中的作用等。.

本书内容包括:逻辑经验世界排除意义世界、意义世界的不可排除性、反对意义世界的根源、意义世界与在之真理、艺术显现真理等。.

本书主要内容包括:初恋风云——数学教育主心骨的的百年寻觅之旅、践约时代——“现代数学教育方式”渐行渐的近、热题冷谈——数学教育焦点话题的哲学断想.

本书从商品拜物教这一特殊理论视角对现代性的成因、流变、类型及其在当代中国的表现形式做了独特而深入的阐述和分析.

本书建构了一个新的艺术阐释体系——踪迹学,并试图对艺术和当代艺术作品作完全另类的解释,对中国传统艺术与当代艺术的合理对接提出了不乏新意的解说。.

吴光辉,湖北省武汉市人,现为厦门大学外文学院讲师,日本语教育研究中心副主任。著有《传统与超越》。.

本书属于世纪之交的中西文学理论的比较研究。时间跨度是从20世纪80年代与90年代的中西文论概观的反思,到21世纪第一个十年中西文论景观的展望。.

Ben shu gong fen san bu: di yi bu hui gui zhen wo, di er bu hui gui tian di, di san bu hui gui tai ji. Nei rong bao kuo: lun sheng ming; sheng ming yu shi ge; sheng ming yu yin yue; xian dai ren sheng ming de yan bian; wo shi shui, tian di yu wo deng.

1. Xin yi shu chuang zuo lun, Xin yi shu lun ji -- 2. Mian xiang sheng huo, Lun yi shu de ji qiao -- 3. Yi yi dang shi -- 4. Xi wen le jian -- 5. Ge er bu ge -- 6. Lun Feng jie -- 7. Kai xin yue shi -- 8. Bu dao ding dian, Shen mei de min gan -- 9. Zai zai tan suo -- 10. Liao ran yu xin -- 11. Shen mei tan (...) -- 12. Si zeng xiang shi, Yi shen er ren -- 13. Shen mei xin tai -- 14. Hui jian zi ji -- 15. Diao su diao su -- 16. "Fu huo" de fu huo -- 17. Dong fang ji bai -- 18. Shen yu wu you -- 19. Tu na ying hua -- 20. Qu yu wu xie -- 21. Shu xin, ti ci xuan -- 22. Duan jian can pian. (shrink)

Aside from the Yue Ji 樂記, the “Xiu Wen 修文” chapter of the Shuoyuan 說苑 is perhaps our richest source of pre-Qin and early Han 漢 Confucian musical thought. Though woven together from earlier sources, “Xiu Wen” nonetheless manages to present its own distinctive expression of the role of music and its relationship to the greater system of ritual institutions. This article undertakes an examination of the chapter’s philosophies of ritual and music, focusing especially on the latter, and in the (...) process attempts to demonstrate what is unique about the text in relation to its forerunners in the realm of musical thought. (shrink)

Early and later Confucians, known in Chinese as the “ruists” school of ancient origins, perceived the idea of “harmony” as a fundamental concept that lies at the basis of self-cultivation, society and governance. In modern times this idea still plays in one or another form a dominant note in Chinese politics and social life. The article attempts to search for causes of the significance of “harmony” by focusing on analyzing two pivotal Confucian texts compiled in the Han dynasty, namely, Records (...) of Music [Yue ji 樂記] and Divination of Music [Yue wei 樂緯]. The analysis shows that ruists belonging to Zhou dynasty’s imperial class of music officials, gradually developed the aesthetics of music into a complex idea of "harmony" that contains the highest aesthetical way—“Dao”—which guides both the whole universe as well as the evolution of human society. (shrink)

According to the Zhuangzi, listening to the music of nature draws the self into the silence required to experience things in their self-arising spontaneity. How does this happen? This essay answers by way of the Yue Ji (Record of Music), where it is said that great music embodies the timeliness of nature. Using both texts, I develop timeliness as the opportune moment, temporal natality, and nature’s memory. Listening to the timely music of nature is shown to be an act of (...) ecological perception that, by releasing time in favor of timeliness, reveals our aesthetic accordance with nature’s own becoming. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 89-104 [Access article in PDF] The Ethical Power of Music:Ancient Greek and Chinese Thoughts Yuhwen Wang Both the ancient Chinese and Greeks from around the fifth century B.C. to around third century A.D. recognized the immense impact that music has on the development of one's personality, and both regarded it as crucial in cultivation for the proper disposition in youth. Music's power (...) over one's ethos 1 — that is, human disposition — was emphasized by Plato and by Chinese authors of various documents. 2 As will become clear, music in both cultures was considered an important means for a proper education and a powerful tool for cultivating and controlling the people of a nation-state. In both cases, the power of music was further connected to the way the universe works. Yet despite their similar views about music, the reasoning strategies used in the two cultures differ enormously. Observing how the two remote cultures conceived the relationship between music and the ethos may give us some insight to music's role in aesthetic education among us modern listeners.In this essay, I investigate how the power of music was understood and explained in these two ancient cultures, and the similarities and differences in their explanations and reasoning strategies. What mechanisms were thought to be at work behind this musical power? How close are ancient Greeks and Chinese in their conceptions of musical power upon the ethos? In particular, the Yue Ji (Record of Music, from the Li Ji) and the Yue Shu (Book of Music, from the Shi Ji) from ancient China, and Plato's writings from ancient Greece will be taken as the foci of the comparison.The Yue Ji and Yue Shu are two of the most important documents in ancient Chinese musical philosophy, respectively included as individual sections in the Li Ji (Record of Rituals) and Shi Ji (Records of the Grand Historian). Both are believed to be later versions of the same source document, which has never been found. In the Chinese textual tradition, the Yue Ji is the earliest fully developed treatise on music that has come down to us. Its authorship has been debated for centuries, but scholars generally agree that [End Page 89] it was completed prior to the middle of the Western Han dynasty (second and first centuries B.C.) The entire contents of the Yue Ji are included in the Yue Shu. The latter contains additional material, is organized in a more logical way, and is also thought to have been compiled during the Western Han dynasty. 3In the first part of this essay, I will use the Yue Ji, the Yue Shu, and Plato's writings to show how the concept of music's power over the ethos evolved in the two ancient cultures. This is closely related to their views on music's effect in regulating human behavior, its educational value, its benefits for governing a state, and its close association with Nature and the universe. Then in the second part, I will focus on the ways that Plato and the authors of the Yue Ji and Yue Shu explained this power, and the reasoning strategies that they used. Essential Belief in Music's Power The close relationship between music and the ethos is explicitly announced in the Yue Ji and the Yue Shu. Both documents state approvingly that "music represented (made clear) virtue" for the ancient rulers (SSJ, 5, 678). 4 Various kinds of music are then pointed out as having different effects upon human ethos and emotion: Men have powers of the body and powers of the mind but they cannot remain stable with regard to grief, pleasure, joy, and anger. They are moved by external causes. Thus originates the appearance of the various affections. Therefore, if feeble, trivial, and rushed music prevails, people will be sad. If harmonious, peaceful, varied but simple music prevails, people will be gratified and happy. If vigorous, violent, and forceful music prevails, which arouses people to... (shrink)