2010年5月2日 星期日
2010年1月8日 星期五
Good magnet manufacturers
I 'm recently interested in magets applications, and i found that there are many interesting magnet manufacturers in Taiwan. No wonder people say that Taiwan is a kingdom of manufacturing.
2009年4月8日 星期三
《Psychology of Art》ch 5. (brief introduction)
1. The fable belonged in the domain of philosophy, whence it was borrowed by the teachers of rhetoric.
2. In Aesop’ s time, fables were told in a simple way: the moral was always separated and placed at the end.
Definition of fable:
We apply a general moral statement to a specific story, narrated as if it were real－that is, not as a mere example or a comparison－and in such a way that the story explain the general moral statement, then this story is a fable.
1. The moral must be absolutely clear and obvious, not hidden behind the story, because the moral is the final aim of the fable’s action.
Vygotsky:
--> The stronger the similarity between words and moral, the more trite the fable
becomes.
--> The moral is used as a poetic techniques, as a jocular introduction, an intermezzo, a finale, or, most frequently, as what is called a “literary mask.”
- Oleksander (aleksandr) Potebnia (1835-1891):
Definition of fable:
The fable should be “a constant affirmation of different subjects taken from the domain of human life.”
- Both Lessing and Potebnia:
1. The fable is the most elementary literary form and base their explanation of all literature upon it.
2. They both reject the lyrical fable, the fable of the book of fables, which to them seems only a child’s toy. Instead they deal with apologues, and their analyses refer more to the psychology of logical thinking than to the psychology of art.
Vygotsky:
--> A fable can be used as a technique for expanding the thought of the speaker, but it can never explain complex relationships or deep thought and meanings.
- Vygotsky:
Q1: How can we explain that fables have endured fro millennia?
A1: The fable continues to find new applications.
Q2: Why uses animals in the fable?
A2:
1. Lessing:
a) Animals are steadier and more determined in their characters.
b) Animals prevent the fable from having any emotional effect upon the reader.
2. Potebnia:
a) Animals are used in fables because of their definitive characters.
3. Vygotsky:
a) Using animals in the fable is that they are suitable conventional
figures that provide the isolation from reality indispensable for ay aesthetic perception.
b) Animals are used in the lyrical fable not for their known specific character, but for a completely different reason. Each animal represents a specific, well-known pattern of activity.
圖片來源:
節錄自《Psychology of Art》- Chapter 6. The Subtle Poison, A Synthesis
節錄自《Psychology of Art》- Chapter 6. The Subtle Poison, A Synthesis
He poured a subtle poison on his works. (p.118)
“Subtle poison” is most likely the very essence of Krylov’s poetry, that the fable contains the seeds of the lyric, the epic, and the drama and that it forces us, by the strength and inspiration of its poetry, to react emotionally to its story. (p. 143)
THE CROW AND THE FOX (p.119-120)
Vodovozov points out that children usually cannot agree with the moral of this fable:
How often has the World been told
That flattery is vile and evil!
To no avail.
The adulator always finds
A cozy corner in man’s heart.
Indeed, this moral, which comes to us from Aesop, Phaedrus, and La Fontaine does not fit the story in Krylov’s fable. Surprisingly enough, according to some sources Krylov likened himself to the fox in the fable because of his relationship with Count Khvostov. He is said to have listened patiently to the Count’s poems, praised them, and then asked the delighted Count to lend him some money. Whether this anecdote is true is not important, but it is important that it is possible. For it is unlikely that in the fable the fox’s action is vile and evil. If it were so, no one would expect Krylov to liken himself to the fox. Indeed that fox’s adulation is extremely light and witty while the derision and scorn of the crow could not be more frank or biting. The crow is depicted as an utter fool, so that the reader, contrary to the fable’s moral, is bound to believe that flattery is anything but vile. He is bound to feel that the crow fully deserves his punishment, and that the fox has taught it a very pertinent lesson. Such a change, of course, is a result of the lyrical narration. Our feelings would be completely different if the same story were told in prose, according to Lessing’s prescription, without the words, of adulation used by the fox, without the remark that the crow nearly choked from joy as he listened to the fox, and so on. The graphic description of the encounter, the characters of the participants, all that Lessing and Potebnia rejected in the fable－these are the mechanisms which induce us to perceive and feel the poetic atmosphere created by each word, verse, and rhyme. In Sumarokov’s Russian version of this famous fable, the slight change from the raven of ancient times to the crow has contributed to a complete change in the style of the fable, but it is unlikely that a change in gender brought about any substantial change in the individual animal’s character. Our feeling is polarized between the two contrasting directions in which the author develops the story. We are immediately influenced by the statement that flattery is vile and evil, and we expect to see in the fox the quintessence of an adulator. We know that adulation comes from those who are weak, those who are vanquished, or those who are begging. But our feeling is thrown in an opposite direction, because the fox is not adulating but scoffing, ridiculing, and deriding the crow. The fox is the master of the situation at all times, and each word he utters has for us a double meaning of adulation and mockery:
My dear, how beautiful you are!
And what a neck, what eyes!...
What feathers! What a beak!...
The story of the fable moves continually between these two extremes and keeps our interest alive. This duality makes the fable attractive, charming, and witty. All the other poetic devices, images, and choices of words, for example, are an essential part of the fable’s over-all effect. Thus, Sumarokov’s rewording of the fox’s speech misses the point:
A parrot is nothing compared to you, my dear;
Your feathers are a thousand times more beautiful than the
peacock’s….
The arrangement of the words, the description of the positions of the characters, their tone of voice, and so forth, emphasize this fundamental aim of the fable. With this aim in mind Krylov boldly eliminates the concluding part of the fable, when the fox says as he leaves, “Oh if you also had a mind, Crow.” With this statement the struggle between the reader’s two opposing feelings ends, and the fable loses its wittiness and becomes flat and trite. La Fontaine’s fable ends like this, with the fox running sway and at the same time deriding the crow, saying that he is a fool to believe adulators. The crow swears that he will never again listen to , or believe, any flattery. Here, again, one of the two feelings prevails, becomes too obvious, and causes the fable to miss its mark.
La Fontaine also described the fox’s flattery in a manner different from Krylov’s: “How pretty you are! How beautiful you seem to me!” And the fox’s speech is introduced by La Fontaine thus: “… lui tint à peu près ce langage” (he then held approximately the following speech.)
This deprives that fable of the “counterfeeling” effect, so that it is completely lost as a work of poetry.
He poured a subtle poison on his works. (p.118)
“Subtle poison” is most likely the very essence of Krylov’s poetry, that the fable contains the seeds of the lyric, the epic, and the drama and that it forces us, by the strength and inspiration of its poetry, to react emotionally to its story. (p. 143)
THE CROW AND THE FOX (p.119-120)
Vodovozov points out that children usually cannot agree with the moral of this fable:
How often has the World been told
That flattery is vile and evil!
To no avail.
The adulator always finds
A cozy corner in man’s heart.
Indeed, this moral, which comes to us from Aesop, Phaedrus, and La Fontaine does not fit the story in Krylov’s fable. Surprisingly enough, according to some sources Krylov likened himself to the fox in the fable because of his relationship with Count Khvostov. He is said to have listened patiently to the Count’s poems, praised them, and then asked the delighted Count to lend him some money. Whether this anecdote is true is not important, but it is important that it is possible. For it is unlikely that in the fable the fox’s action is vile and evil. If it were so, no one would expect Krylov to liken himself to the fox. Indeed that fox’s adulation is extremely light and witty while the derision and scorn of the crow could not be more frank or biting. The crow is depicted as an utter fool, so that the reader, contrary to the fable’s moral, is bound to believe that flattery is anything but vile. He is bound to feel that the crow fully deserves his punishment, and that the fox has taught it a very pertinent lesson. Such a change, of course, is a result of the lyrical narration. Our feelings would be completely different if the same story were told in prose, according to Lessing’s prescription, without the words, of adulation used by the fox, without the remark that the crow nearly choked from joy as he listened to the fox, and so on. The graphic description of the encounter, the characters of the participants, all that Lessing and Potebnia rejected in the fable－these are the mechanisms which induce us to perceive and feel the poetic atmosphere created by each word, verse, and rhyme. In Sumarokov’s Russian version of this famous fable, the slight change from the raven of ancient times to the crow has contributed to a complete change in the style of the fable, but it is unlikely that a change in gender brought about any substantial change in the individual animal’s character. Our feeling is polarized between the two contrasting directions in which the author develops the story. We are immediately influenced by the statement that flattery is vile and evil, and we expect to see in the fox the quintessence of an adulator. We know that adulation comes from those who are weak, those who are vanquished, or those who are begging. But our feeling is thrown in an opposite direction, because the fox is not adulating but scoffing, ridiculing, and deriding the crow. The fox is the master of the situation at all times, and each word he utters has for us a double meaning of adulation and mockery:
My dear, how beautiful you are!
And what a neck, what eyes!...
What feathers! What a beak!...
The story of the fable moves continually between these two extremes and keeps our interest alive. This duality makes the fable attractive, charming, and witty. All the other poetic devices, images, and choices of words, for example, are an essential part of the fable’s over-all effect. Thus, Sumarokov’s rewording of the fox’s speech misses the point:
A parrot is nothing compared to you, my dear;
Your feathers are a thousand times more beautiful than the
peacock’s….
The arrangement of the words, the description of the positions of the characters, their tone of voice, and so forth, emphasize this fundamental aim of the fable. With this aim in mind Krylov boldly eliminates the concluding part of the fable, when the fox says as he leaves, “Oh if you also had a mind, Crow.” With this statement the struggle between the reader’s two opposing feelings ends, and the fable loses its wittiness and becomes flat and trite. La Fontaine’s fable ends like this, with the fox running sway and at the same time deriding the crow, saying that he is a fool to believe adulators. The crow swears that he will never again listen to , or believe, any flattery. Here, again, one of the two feelings prevails, becomes too obvious, and causes the fable to miss its mark.
La Fontaine also described the fox’s flattery in a manner different from Krylov’s: “How pretty you are! How beautiful you seem to me!” And the fox’s speech is introduced by La Fontaine thus: “… lui tint à peu près ce langage” (he then held approximately the following speech.)
This deprives that fable of the “counterfeeling” effect, so that it is completely lost as a work of poetry.
2009年3月17日 星期二
心理學 & 哲學 ─ 學術名詞
Naturalism (自然主義)
自然主義通常是指繼承唯物主義和實用主義衣缽、不探究自然界中超自然因素的哲學立場。自然主義不一定認為超自然現象和假設不存在或就是荒謬，但是所有的現象和假設必須可以用相同的方法來研究，因此任何超自然事物或是不存在，或是不可知，或是與自然現象和假設沒有本質區別。任何限制于自然、物理、唯物方法和解釋範圍內的探索和調查手段，或者積累知識的過程，都可歸入自然主義。許多科學哲學家用「方法自然主義」（又譯「方法論自然主義」，「自然方法論」）和「科學自然主義」來指科學方法中被長久廣為遵循的常規，即使用方法論假設可觀察的自然現象只能由自然原因來解釋，而不假設超自然能力是否存在，因此也不接受超自然的解釋。與「存在論自然主義」或「形上學自然主義」相對，這些思想認為：自然界（包括整個宇宙）就是存在的全部，因此超自然事物是不存在的。
這以哲學方法差異是由支持科學和進化論的哲學家提出，他們在「創造論對進化論的爭議」中反對創造論或智能設計論，把「方法論自然主義」稱為「科學唯物主義」或者「方法論唯物主義」，與「形上學自然主義」結合，進一步支持他們提出的「現代科學是無神論」的理念。與其相對的自然哲學手段則接受對自然現象的超自然解釋，從而被稱為「有神論科學」或偽科學。
Metalism (心靈主義)
Mentalism is a performing art in which its practitioners, known as mentalists, use mental acuity, cold reading, warm reading, hot reading, principles of stage magic, and/or suggestion to present the illusion of mind reading, psychokinesis, extra-sensory perception, precognition, clairvoyance or mind control. Hypnosis is also included in this category.
Dualism (二元並存理念)
二元並存的理念是由希臘哲學家柏拉圖所提出，認為人有兩個世界，一個是靈魂所處的理性世界，另一個是身體所處的現實世界，認為身體上的感官所接觸到的世界並非是真實的世界，唯有靈魂所處的世界才是真實的世界，因此感官的世界只是靈魂世界的影子。這個觀念並非只是純粹的幻想，而是由當時所能運用的方法如內省法等，去驗証得到的結論，而近來的臨床研究，也發現腦中的感覺不同於感官所受到的刺激，因此二元論歷來的研討都有其意義與改變的理由，當中有錯誤的推論，也有正確的推論。例如就近來各種斷肢患者所產生的幻肢痛研究，都証實了腦中的感覺不一定要由感官而來，而感官的刺激也不一定會影響到腦，因此早期大量論述靈魂與身體的議題，都是有其依據與意義，不能全盤否定其價值。
Revisionism (修正主義)
Fictional revisionism, the retelling of a story with substantial alterations in character or environment, to "revise" the view shown in the original workMarxist revisionism, a pejorative term used to describe ideas based on a revision of fundamental Marxist premises
Historical revisionism, the critical re-examination of historical facts
Historical revisionism (negationism), a particular form of historical revisionism concerned with the denial of facts accepted by mainstream historians
Revisionist Zionism, a nationalist faction within the Zionist movement
Territorial revisionism, a euphemism for revanchism or irredentism, the desire to recover the territory of a nation lost in war - used in particular for movements after the First World War which wanted to revise the Versailles Treaty (unfavorable to Germany) and the Trianon Treaty (unfavorable to Hungary)
Critical revisionism, the attempt to influence critical evaluation of the arts and the reputations of people associated with the arts - authors, composers, actors, musicians, etc. Using this method, artists who are generally considered great are debunked, and the not-so-famous tend to be treated as artists who were unfairly overlooked.
Schizophrenia (精神分裂症)
精神分裂症，是一種精神科疾病，是一種持續、通常慢性的重大精神疾病，是精神病裡最嚴重的一種。病因未明，多青壯年發病，隱匿起病，主要影響的心智功能包含思考及對現實世界的感知能力，並進而影響行為及情感。臨床上表現為思維、情感、行為等多方面障礙以及精神活動不協調。患者一般意識清楚，智能基本正常。精神分裂症之主要徵兆被認為是基本的思考結構及認知發生碎裂。這種解離現象據信會造成思考形式障礙並導致無法分辨內在及外在的經驗。罹患精神分裂症的人可能會自己表示有幻覺，或者，旁人可以發現他們的表現受幻覺影響。患者也可能表達明顯妄想信念。社交或職業功能退化、一些次要的症狀、沒有器質性腦病，可以是確立診斷的條件。
Gestalt psychology (格式塔學派)
格式塔學派（德語：Gestalt theorie）是心理學重要流派之一，興起於20世紀初的德國，又稱為完形心理學。由馬科斯·韋特墨（1880~1943）、沃爾夫岡·苛勒（1887~1967）和科特·考夫卡（1886~1941）三位德國心理學家在研究似動現象的基礎上創立。格式塔是德文Gestalt的譯音，意即「模式、形狀、形式」」等，意思是指「能動的整體（dynamic wholes）。
格式塔學派主張人腦的運作原理是整體的，「整體不同於其部件的總和」。例如，我們對一朵花的感知，並非純粹單單從對花的形狀、顏色、大小等感官資訊而來，還包括我們對花過去的經驗和印象，加起來才是我們對一朵花的感知。格式塔體系的關鍵特徵是整體性、具體化、組織性和恆常性。
資料來源:
Naturalism
Mentalism
Dualism
Revisionism
Schizophrenia
Gestalt Psychology
Michael Cole (1938-)
Michael Cole (1938-)
Michael Cole：(1938- ) 美國人，60年代曾赴前蘇聯學術交流，為著名神經心理學家魯利亞Luria學生（前蘇聯有著名的維-列-魯學派，魯利亞是其中之一）。因此機緣，翻譯了大量維果斯基、魯利亞等人的著作，介紹到歐美。80年代，美國對維果斯基興趣日隆，其人功不可沒。著作《Cultural psychology: a once and future discipline》(1996)為當代文化心理學名著。2006年獲頒心理學國際促進傑出貢獻獎（the Award for Distinguished Contributions to the International Advancement of Psychology）。
資料來源: 心理人物
圖片來源: 心理人物
Alexander Romanovich Luria (1902-1977)
Alexander Romanovich Luria (1902-1977)
Alexander Romanovich Luria (Russian: Алекса́ндр Рома́нович Лу́рия; July 16, 1902 – August 14, 1977) was a famous Soviet neuropsychologist and developmental psychologist. He was one of the founders of cultural-historical psychology and psychological activity theory.
Biography:
Luria was born in Kazan, a regional center east of Moscow. He studied at Kazan State University (graduated in 1921), Kharkov Medical Institute and 1st Moscow Medical Institute (graduated in 1937). He was appointed Professor (1944), Doctor of Pedagogical (1937) and Medical Sciences (1943). Throughout his career Luria worked in a wide range of scientific fields at such institutions as the Academy of Communist Education (1920-30s), Experimental Defectological Institute (1920-30s, 1950-60s, both in Moscow), Ukrainian Psychoneurological Academy (Kharkov, early 1930s), All-Union Institute of Experimental Medicine, Burdenko Institute of Neurosurgery (late 1930s), and other institutions. In the late 1930s, Luria went to medical school. Following the war, Luria continued his work in Moscow's Institute of Psychology. For a period of time, he was removed from the Institute of Psychology, mainly as a result of a flare-up of anti-Semitism and shifted to research on mentally retarded children at the Defectological Institute in the 1950s. Additionally, from 1945 on Luria worked at the Moscow State University and was instrumental in the foundation of the Faculty of Psychology at the Moscow State University, where he later headed the Departments of Patho- and Neuropsychology.
Scientific work:
In 1923, his work with reaction times related to thought processes earned him a position at the Institute of Psychology in Moscow. There, he developed the "combined motor method," which helped diagnose individuals' thought processes, creating the first ever lie-detector device. This research was published in the US in 1932 (published in Russian for the first time only in 2002).
In 1924, Luria met Lev Vygotsky, who would influence him greatly. Along with Alexei Nikolaevich Leont'ev, these three psychologists launched a project of developing a psychology of a radically new kind. This approach fused "cultural," "historical," and "instrumental" psychology and is most commonly referred to presently as cultural-historical psychology. It emphasizes the mediatory role of culture, particularly language, in the development of higher mental functions in ontogeny and phylogeny.
Luria's work continued in the 1930s with his psychological expeditions to Central Asia. Under the supervision of Vygotsky, Luria investigated various psychological changes (including perception, problem solving, and memory) that take place as a result of cultural development of undereducated minorities. In this regard he has been credited with a major contribution to the study of orality.[1] Later, he studied identical and fraternal twins in large residential schools to determine the interplay of various factors of cultural and genetic human development. In his early neuropsychological work in the end of 1930s as well as throughout his postwar academic life he focused on the study of aphasia, focusing on the relation between language, thought, and cortical functions, particularly on the development of compensatory functions for aphasia.
During World War II Luria led a research team at an army hospital looking for ways to compensate psychological dysfunctions in patients with brain lesions. His work resulted in creating the field of Neuropsychology. His two main case studies, both published a few years before his death, described S.V. Shereshevskii, a Russian journalist with a seemingly unlimited memory (1968), in part due to his fivefold synesthesia. This case was presented in a book The Mind of a Mnemonist. Luria's other most well-known book is The Man with a Shattered World, a penetrating account of Zasetsky, a man who suffered a traumatic brain injury (1972). These case studies illustrate Luria's main methods of combining classical and remediational approaches. Luria's work is frequently and favorably mentioned in the popular books written by Dr. Oliver Sacks on neurological disorders, which has led to greater recognition of Luria's accomplishments.
Luria-Nebraska Neuropsychological Test:
The Luria-Nebraska is a standardized test based on the theories of Luria regarding neuropsychological functioning. There are 14 scales: motor functions, rhythm, tactile functions, visual functions, receptive speech, expressive speech, writing, reading, arithmetic, memory, intellectual processes, pathognomic, left hemisphere and right hemisphere. It is used with people who are 15 years or older; however, it may be used with adolescents down to 12 years old. Part of A.R. Luria's legacy was the premium that he placed on the observation of a patient completing a task; intraindividual differences. The modern practice of standardized testing tends to neglect this aspect of psychology. The Luria-Nebraska Neuropsychological Battery (now in its third iteration) attempts to create an alloy of standardized testing and idiosyncratic observation by allowing comparison to the normative sample, and at the same time giving the test administrator flexibility in the administration.
資料來源: Wikipedia
圖片來源: Wikipedia
Alexei Nicolaevich Leontiev (1903-1979)
Alexei Nicolaevich Leontiev (1903-1979)
Alexei Nikolaevich Leont'ev (Russian: Алексей Николаевич Леонтьев) (1903-1979), Soviet developmental psychologist, the founder of activity theory.
Biography:
A.N. Leont'ev worked with Lev Vygotsky (1896-1934) and Alexander Luria (1902-1977) from 1924 to 1930, collaborating on the development of a Marxist psychology as a response to behaviourism and the focus on the stimulus-response mechanism as explanation for human behaviour. Leont'ev left Vygotsky's group in Moscow in 1931, to take up a position in Kharkov. He continued to work with Vygotsky for some time but, eventually, there was a split, although they continued to communicate with one another on scientific matters (Veer and Valsiner, 1991). Leont'ev returned to Moscow in 1950 as Head of the Psychology Department at the Faculty of Philosophy of Moscow State University. In 1966, Leont'ev became the first ever Dean of the newly established Faculty of Psychology at the Moscow State University, where he worked until his death in 1979. He died of a heart attack.
Scienctific Work:
Leont'ev's early scientific work was done in the framework of Vygotsky's cultural-historical research program and focused on the exploration of the phenomenon of cultural mediation. Representative of this period is Leontiev's study on mediated memory in children and adults The development of higher forms of memory, 1931.
Leont'ev's own research school is based on the thorough psychological analysis of the phenomenon of activity. Systematic development of the psychological foundations of activity theory was started in the 1930-s by Kharkov group of psychologists headed by Leont'ev and included such researchers as Zaporozhets, Gal'perin, Zinchenko, Bozhovich, Asnin, Lukov, etc. In its fullest form, activity theory was subsequently developed and institutionalized as the leading psychological doctrine in the Soviet Union in the post-war period after Leont'ev had moved to Moscow and took a position at the Moscow State University.
For Leont'ev, ‘activity’ consisted of those processes "that realise a person’s actual life in the objective world by which he is surrounded, his social being in all the richness and variety of its forms" (Leont’ev 1977). The core of the Leont'ev's work is the proposal that we can examine human processes from the perspective of three different levels of analysis. The highest, most general level is that of activity and motives that drive it. At the intermediate level are actions and their associated goals, and the lowest level is the analysis of operations that serve as means for the achievement of the higher-order goals.
Leont'ev's own research school is based on the thorough psychological analysis of the phenomenon of activity. Systematic development of the psychological foundations of activity theory was started in the 1930-s by Kharkov group of psychologists headed by Leont'ev and included such researchers as Zaporozhets, Gal'perin, Zinchenko, Bozhovich, Asnin, Lukov, etc. In its fullest form, activity theory was subsequently developed and institutionalized as the leading psychological doctrine in the Soviet Union in the post-war period after Leont'ev had moved to Moscow and took a position at the Moscow State University.
For Leont'ev, ‘activity’ consisted of those processes "that realise a person’s actual life in the objective world by which he is surrounded, his social being in all the richness and variety of its forms" (Leont’ev 1977). The core of the Leont'ev's work is the proposal that we can examine human processes from the perspective of three different levels of analysis. The highest, most general level is that of activity and motives that drive it. At the intermediate level are actions and their associated goals, and the lowest level is the analysis of operations that serve as means for the achievement of the higher-order goals.
Leontiev's Texts online:
In English
Problems of the Development of the Mind, 1959 (1st ed.), 1965 (2nd ed.), 1972 (3rd ed.), 1981 (4th ed.); translated in English in 1981:
The problem of the origin of sensation (pp. 7-53). In Problems of the Development of the Mind. (Trans. M. Kopylova) Moscow: Progress Publishers
An outline of the evolution of the psyche (pp. 156-326). Problems of the Development of the Mind. (Trans. M. Kopylova) Moscow: Progress Publishers.
http://www.marxists.org/archive/leontev/:
Activity and Consciousness, 1977
Activity, Consciousness, and Personality, 1978
The Development of Mind, 1981
In Russian
Леонтьев А.Н. (1947). Психологические вопросы сознательности учения
Леонтьев А.Н. (1977). Деятельность. Сознание. Личность (idem)
Леонтьев А.Н. (2000). Лекции по общей психологии
Леонтьев А. Н. (1978). Воля
Леонтьев А. Н. (1986). Проблема деятельности в истории советской психологии
Problems of the Development of the Mind, 1959 (1st ed.), 1965 (2nd ed.), 1972 (3rd ed.), 1981 (4th ed.); translated in English in 1981:
The problem of the origin of sensation (pp. 7-53). In Problems of the Development of the Mind. (Trans. M. Kopylova) Moscow: Progress Publishers
An outline of the evolution of the psyche (pp. 156-326). Problems of the Development of the Mind. (Trans. M. Kopylova) Moscow: Progress Publishers.
http://www.marxists.org/archive/leontev/:
Activity and Consciousness, 1977
Activity, Consciousness, and Personality, 1978
The Development of Mind, 1981
In Russian
Леонтьев А.Н. (1947). Психологические вопросы сознательности учения
Леонтьев А.Н. (1977). Деятельность. Сознание. Личность (idem)
Леонтьев А.Н. (2000). Лекции по общей психологии
Леонтьев А. Н. (1978). Воля
Леонтьев А. Н. (1986). Проблема деятельности в истории советской психологии
資料來源: Wikipedia
圖片來源: LEONTIEV
The Vygotsky School
Talk by Andy Blunden 23/24th February 2001
The Vygotsky School“Spirit, Money and Modernity” Seminar
The Vygotsky School
The Vygotsky School“Spirit, Money and Modernity” Seminar
The Vygotsky School
Jacob Kasanin (1897~1946)
Jacob Kasanin (1897~1946)
Jacob Sergi Kasanin was born in Slavgorod, USSR, on May 11, 1897. He came to the United States in 1915, and received his M.D. from the University of Michigan in 1921 and his M.S. in Public Health in 1926. As Senior Research Associate at the Boston Psychopathic Hospital and as Director of the Department of Mental Hygiene of the Federated Jewish Charities in Boston, his interest centered around the study of blood sugar curves in epidemic encephalitis, in mental disease, in emotional states, etc. Then he turned to the study of psychoses in children, which became his favorite topic throughout the years from 1931, when he became Clinical Director of the Rhode Island State Hospital, and later as Director of the Department of Psychiatry at the Michael Reese Hospital in Chicago, from 1936 to 1939. His first papers on Personality Changes in Children Following Cerebral Trauma (Journal of Nervous and Mental Disease, 1929), and A Study of the Functional Psychoses in Children
資料來源: PEP Web
圖片來源: KASANIN
Eugenia Hanfmann (1905-1983)
Eugenia Hanfmann (1905-1983)
Marianne L. Simmel, Ph.D. *
Harvard University, College of Medicine, University of Illinois
Eugenia Hanfmann's life encompassed a childhood during the Russian revolution through studies in Germany to a distinguished career in the United States. She did research in Kurt Koffka's laboratory at Smith College, later at Worcester State Hospital, and then in Chicago where she developed, with Jacob Kasanin, the Hanfmann-Kasanin test. She taught at Mount Holyoke College before she joined the staff of the OSS Assessment Program in 1944. After the war she became a member of the Department of Social Relations at Harvard and also the Russian Research Institute there. In 1953 she went to Brandeis University as Professor of Psychology and Director of the Counseling Center, which she established and guided for many years. Hanf mann's interests ranged from investigations of cognitive functions to studies of personality and psychotherapeutic issues.
資料來源: Wiley InterScience
James-Lange Theory
James-Lange Theory
The James-Lange theory refers to a hypothesis on the origin and nature of emotions developed independently by two 19th-century scholars, William James and Carl Lange. The theory states that within human beings, as a response to experiences in the world, the autonomic nervous system creates physiological events such as muscular tension, a rise in heart rate, perspiration, and dryness of the mouth. Emotions, then, are feelings which come about as a result of these physiological changes, rather than being their cause. James and Lange arrived at the theory independently. Lange specifically stated that vasomotor changes are emotions. (Ex. A person rationalizes that because they are crying, they must be sad.)
James elucidated his concept as:
" My theory ... is that the bodily changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occur is the emotion. Common sense says, we lose our fortune, are sorry and weep; we meet a bear, are frightened and run; we are insulted by a rival, are angry and strike. The hypothesis here to be defended says that this order of sequence is incorrect ... and that the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble ... Without the bodily states following on the perception, the latter would be purely cognitive in form, pale, colorless, destitute of emotional warmth. We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we should not actually feel afraid or angry.”
The notion of causality is a difficult one. The theory has been largely disfavored in modern times. Some evidence to support it, however, may come from the fact that sufferers of various psychological challenges such as panic disorders often experience psychoemotional trauma after physiological responses arise in the body, responses which individuals are conditioned to associate with a particular emotional state but which can, via therapy, be dissociated.
This theory was challenged in the 1920s by psychologists such as Walter Cannon and Philip Bard, who theorized that physiological changes are caused by emotions (collectively known as the Cannon-Bard theory of emotion).
The third theory of emotion is called the Schachter & Singer's Two factor theory of emotion. This theory states that emotions are a direct result of an analysis of the surroundings.
資料來源: Wikipedia
The James-Lange theory refers to a hypothesis on the origin and nature of emotions developed independently by two 19th-century scholars, William James and Carl Lange. The theory states that within human beings, as a response to experiences in the world, the autonomic nervous system creates physiological events such as muscular tension, a rise in heart rate, perspiration, and dryness of the mouth. Emotions, then, are feelings which come about as a result of these physiological changes, rather than being their cause. James and Lange arrived at the theory independently. Lange specifically stated that vasomotor changes are emotions. (Ex. A person rationalizes that because they are crying, they must be sad.)
James elucidated his concept as:
" My theory ... is that the bodily changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occur is the emotion. Common sense says, we lose our fortune, are sorry and weep; we meet a bear, are frightened and run; we are insulted by a rival, are angry and strike. The hypothesis here to be defended says that this order of sequence is incorrect ... and that the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble ... Without the bodily states following on the perception, the latter would be purely cognitive in form, pale, colorless, destitute of emotional warmth. We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we should not actually feel afraid or angry.”
The notion of causality is a difficult one. The theory has been largely disfavored in modern times. Some evidence to support it, however, may come from the fact that sufferers of various psychological challenges such as panic disorders often experience psychoemotional trauma after physiological responses arise in the body, responses which individuals are conditioned to associate with a particular emotional state but which can, via therapy, be dissociated.
This theory was challenged in the 1920s by psychologists such as Walter Cannon and Philip Bard, who theorized that physiological changes are caused by emotions (collectively known as the Cannon-Bard theory of emotion).
The third theory of emotion is called the Schachter & Singer's Two factor theory of emotion. This theory states that emotions are a direct result of an analysis of the surroundings.
資料來源: Wikipedia
2009年3月4日 星期三
Russian Formalism
Russian Formalism
1. Russian formalism was an influential school of literary criticism in Russia from the 1910s to the 1930s.
2. It includes the work of a number of highly influential Jewish Russian and Soviet scholars such as Viktor Shklovsky, Yuri Tynianov, Boris Eichenbaum, Roman Jakobson, Grigory Vinokur who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature.
3. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman, and on structuralism as a whole. The movement's members had a relevant influence on modern literary criticism, as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art.
4. "Russian Formalism" describes two distinct movements: the OPOJAZ Obscestvo Izucenija Poeticeskogo Jazyka - Society for the Study of Poetic Language in St. Petersburg and the Linguistic Circle in Moscow.
5. It is more precise to refer to the "Russian Formalists", rather than to use the more encompassing and abstract term of "Formalism". The term "formalism" was first used by the adversaries of the movement, and as such it conveys a meaning explicitly rejected by the Formalists themselves. In the words of one of the foremost Formalists, Boris Eichenbaum: "It is difficult to recall who coined this name, but it was not a very felicitous coinage. It might have been convenient as a simplified battle cry but it fails, as an objective term, to delimit the activities of the "Society for the Study of Poetic Language."
Related areas:
1. Mechanistic Formalism
2. Organic Formalism
3. Systemic Formalism
資料來源: Wikipedia
Edward Gordon Craig (1872-1966)
Edward Gordon Craig
(1872-1966)
1. Edward Gordon Craig (16 January 1872 – 29 July 1966), sometimes known as Gordon Craig.
2. A English modernist theatre practitioner; he worked as an actor, producer, director and scenic designer, as well as developing an influential body of theoretical writings.
3. As a producter, director and senic disigner, Graig's style is to keep the designs simple so as to set off the movements of the actors and of light, and introduced the idea of a "unified stage picture" that covered all the elements of design.
3. Lev Vygotsky was fascinated by the innovative interpretation of Hamlet produced in Moscow by Gordon Graig.
Vygotsky's Work (1930)
Vygotsky's Work (1930)
“The Biological Base of Affect.” I Want to Know Everything, 1930, nos. 15-16, pp. 480-481.
Foreword to materials collected by workers of the Institute of Scientific Education, April 13, 1930. Archives of the Academy of Pedagogical Sciences, USSR, fol. 4, vol. I, no. 103, pp. 81-82.
“Is It Possible to Simulate Extraordinary Memory?” I Want to Know Everything, 1930, no. 24, pp. 700-703.
“Imagination and Creativity in Childhood.” Private archives of L. S. Vygotsky. Manuscript.
Problems of Defectology, VI. L. S. Vygotsky, ed. 1930. (With D. I. Asbukhin and L. V. Zankov.)
Foreword to The Essay of Spiritual Development of the Child by K. Buhler. Moscow: The Worker of Education Publishing House, 1930.
“Extraordinary Memory.” I Want to Know Everything, 1930, no. 19, pp. 553-554.
“The Question of Speech Development and Education of the Deaf-Mute Child. Report to the Second National Conference of School Workers. Archives of the Institute of Defectology, Academy of Pedagogical Sciences, USSR. Manuscript, 2 pp.”
“The Problem of the Development of Interests in Adolescence.” Education of Workers, 1930, nos. 7-8, pp. 63-81.
“The Cultural Development of Abnormal and Retarded Children.” Report to the First Meeting for Investigation of Human Behavior, Moscow, Feb. 1, 1930. In Psychological Sciences in the USSR, pp. 195-196. Moscow-Leningrad: Medgiz, 1930.
“New Developments in Psychological Research.” Report to the Third National Meeting of Child Care, May 1930. The Internat, 1930, no. 7, pp. 22-27.
“Psychological Systems.” Report to the Neurology Clinic of the First Moscow State University, Oct. 9, 1930. Private archives of L. S. Vygotsky. Stenography.
“Tool and Sign.” Private archives of L. S. Vygotsky. Manuscript.
“The Behavior of Man and Animals.” Private archives of L. S. Vygotsky, 1929-1930. Manuscript.
“The Connection between Labor Activity and the Intellectual Development of the Child.” Pedology, 1930, nos. 5-6, pp. 588-596.
“The Behavior of Man and Animals.” Private archives of L. S. Vygotsky, 1929-1930. Manuscript.
Foreword to Teachers’ Guide to the Investigation of the Educational Process by B. R. Bekingem. Moscow: The Worker of Education Publishing House, 1930.
Foreword to Investigation of the Intellect of Anthropoids by W. Köhler. Moscow: Publishing House of the Communist Academy, 1930.
“The Problem of the Higher Intellectual Functions in the System of Psychological Investigation” Psychology and Psychophysiology of Labor, vol. 3 (1930), no. 5, pp. 374-384.
“The Mind, Consciousness, Unconsciousness.” In Elements of General Psychology, 4th ed., pp. 48-61. Moscow: Extension Division of the Second Moscow State University, 1930.
“The Development of the Highest Patterns of Behavior in Childhood.” Report to the First Meeting of Human Behavior, Jan. 28, 1930. In Psychoneurological Sciences in the USSR, pp. 138-139. Moscow-Leningrad: Medgiz, 1930.
“The Development of Consciousness in Childhood.” Private archives of L. S. Vygotsky. Stenography.
“Sleep and Dreams.” In Elements of General Psychology, pp. 62-75. Moscow: Extension Division of the Second Moscow State University, 1930.
“The Communist Reconstruction of Man.” Varnitso, 1930, nos. 9-10, pp. 36-44.
“Structural Psychology.”In Main Trends in Contemporary psychology by L. S. Vygotsky and S. Gellershtein, pp. 84-125. Moscow-Leningrad: Government Publishing House, 1930.
“Eidetics.” In Main Treads in Contemporary Psychology by L. S. Vygotsky and S. Gellershtein, pp. 178-205. Moscow-Leningrad: Government Publishing House, 1930.
“Experimental Investigation of the Highest Processes of Behavior.” Report to the First Meeting for Studying Human Behavior, Jan. 28, 1930. In Psychoneurological Sciences in the USSR. Moscow-Leningrad: Medgiz, 1930.
2009年2月25日 星期三
Preface of 《The Psychology of Art》 (My Notes)
Preface of 《The Psychology of Art》 (My Notes)
1. The Psychology of Art which presented Vygotsky’s results of his work in the years 1915~1922 was published in 1926.
2. Vygotsky’s main analyses in this book were base on Krylov, on Hamlet, and on the composition of the short story.
3. Vygotsky’s purpose of this book was to reexamine the traditional psychology of art and to try to delineate a new field of investigation for objective psychology. And his goal was to offer a program, not a system.
4.
a) Vygotsky agreed with Lipps that aesthetics can be defined as a discipline of applied psychology.
b) Socialogical view of art with in Marxist (Plekhanov)
c) Vygotsky also shared Utitz 's view that art goes beyond the limits of aesthetics and even has features that are fundamentally different from aesthetics values, but that it begins with the aesthetic element and remains with it to the end.
d) Hennequin said a work of art as a combination of aesthetic symbols aimed at arousing emotion in people.
e) Müller Freienfels said that the psychologist of art resembles the biologist who can make a complete analysis of living matter and break it down into its component parts but is unable to recreate the living whole out of these parts or to discover the laws that govern this whole.
f) Spinoza
5. The central idea of the psychology of art, Vygotsky believed, was the recognition of the dominance of material over artistic form, or what amounts to the same thing, the acknowledgement in art of the social techniques of emotions.
6. The essence of the problem was: the theoretical and applied psychology of art should bring to light all the mechanisms that operate through art and should also provide the basis for all disciplines concerned with art.
7. Vygotsky thought that we should never be able to reconstruct authors’ psychology, and the psychology of his readers, but we can, by analyzing the art work, discover the psychological law on which it is based, the mechanism through which it acts; this we may call the psychology of a certain art work.
1. The Psychology of Art which presented Vygotsky’s results of his work in the years 1915~1922 was published in 1926.
2. Vygotsky’s main analyses in this book were base on Krylov, on Hamlet, and on the composition of the short story.
3. Vygotsky’s purpose of this book was to reexamine the traditional psychology of art and to try to delineate a new field of investigation for objective psychology. And his goal was to offer a program, not a system.
4.
a) Vygotsky agreed with Lipps that aesthetics can be defined as a discipline of applied psychology.
b) Socialogical view of art with in Marxist (Plekhanov)
c) Vygotsky also shared Utitz 's view that art goes beyond the limits of aesthetics and even has features that are fundamentally different from aesthetics values, but that it begins with the aesthetic element and remains with it to the end.
d) Hennequin said a work of art as a combination of aesthetic symbols aimed at arousing emotion in people.
e) Müller Freienfels said that the psychologist of art resembles the biologist who can make a complete analysis of living matter and break it down into its component parts but is unable to recreate the living whole out of these parts or to discover the laws that govern this whole.
f) Spinoza
5. The central idea of the psychology of art, Vygotsky believed, was the recognition of the dominance of material over artistic form, or what amounts to the same thing, the acknowledgement in art of the social techniques of emotions.
6. The essence of the problem was: the theoretical and applied psychology of art should bring to light all the mechanisms that operate through art and should also provide the basis for all disciplines concerned with art.
7. Vygotsky thought that we should never be able to reconstruct authors’ psychology, and the psychology of his readers, but we can, by analyzing the art work, discover the psychological law on which it is based, the mechanism through which it acts; this we may call the psychology of a certain art work.
2009年2月24日 星期二
[新聞] 美研究：大腦對美的反應 男女有別
研究發現，人類大腦在接收到美的事物時可能出現的反應，男女有別。男性使用右腦來處理美，女性則是用全腦來做這個工作。（夏明珠報導）
美其實是非常主觀的，大家不是常說，情人眼裏出西施，不過，大家也知道，兩性在美的認知上，確實存在某些差異，這種差異究竟從何而來，研究有新的發現。
加州大學的研究團隊使用磁振造影技術，記錄20個實驗對象在看到美麗的畫作，以及醜陋的城市相片時，腦部產生的變化，它們發現兩性對於美的反應，有很明顯的差異。
女性在接收到美的事物時，多半是用整個腦來反應，男性多數時間，只使用右腦。
研究人員說，這種差異可能和男性與女性腦部處理空間資訊的方法不同有關，而且這樣的差異可能是人類特有的。
腦部的認知功能，男女有別，這是早就知道的。在面對美的事物時，這樣的差異又如何陳現。研究發現，女性在接觸視覺目標的時候，腦部會把它和語言做連結，男性則比較專注在物體的空間樣貌上。研究人員解釋說，它有可能和人類進化過程中，兩性在社會角色上漸漸產生的分別有關。
人類是一種複雜的動物，還好拜科學日新月異之賜，我們才得以對許多知其然，不知其所以然的本性有更多了解。
資料來源: 中廣新聞網
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