Literature is not all about a play of a language, or a kind of linguistic game. The written pages are not only a representation of the black and the white; the verbal and the visual, but also much more. A writer somehow does not only write a book. He or she – most importantly – lives a book. The text itself does not only represent the condition of language – rather, it does represent the condition of one's own self.
本書特色
Analyzing authors by analyzing the words they use;
Revealing the person behind the pages by revealing the condition of language.
具体描述
窥探人类思维的迷宫：一部关于认知与心智的深度探究 书名：思维的边界：认知科学前沿的探索 内容提要： 《思维的边界：认知科学前沿的探索》并非一本关于语言结构或词汇演变的著作，而是一次深入人类心智深处的壮阔旅程。本书聚焦于认知科学（Cognitive Science）这一多学科交叉领域，旨在解构我们感知世界、形成信念、做出决策的内在机制。它超越了单纯的心理学描述，融入了哲学、神经科学、计算机科学（特别是人工智能的底层逻辑）和人类学的前沿见解，试图勾勒出一幅关于“人何以为人”的复杂图景。 本书的叙事结构分为四个主要部分，层层递进，从微观的神经活动到宏观的社会认知。 第一部分：感知的错觉与构建 本部分首先探讨了人类感知的非线性与易错性。我们常常将感知等同于对外部世界的直接映射，但事实远非如此。作者通过对视觉错觉、听觉盲点以及触觉经验的细致分析，揭示了大脑如何主动地“编辑”和“预测”输入信息。 主观现实的构建： 详细阐述了“自上而下”（Top-Down）处理对“自下而上”（Bottom-Up）输入信息的修正作用。例如，在解释著名的奈克点（Null Point）现象时，我们看到的是大脑为了维持叙事连贯性而进行的有意识或无意识的“填补”工作。 时间的流动与感知： 探讨了大脑如何组织时间序列，以及在面对高强度刺激（如事故或极度专注时）时间流速的主观变化。这部分借鉴了时间心理物理学（Psychophysics of Time）的成果，解释了为什么记忆中的“重要时刻”往往显得更长。 具身认知（Embodied Cognition）的初步引入： 提出身体经验——而非仅仅是抽象的符号处理——是心智形成的基础。我们的姿态、运动和空间定位如何影响我们的情绪判断和概念理解，将为后续的论述打下基础。 第二部分：记忆的韧性与脆弱 记忆是心智的基石，但《思维的边界》深入剖析了记忆的动态性、可塑性以及其内在的不可靠性。本书批判了将记忆比作录像带或文件柜的传统比喻，强调记忆是一种持续的、重构性的过程。 工作记忆与长期记忆的交互： 详细比较了不同类型的记忆系统，如情景记忆（Episodic）、语义记忆（Semantic）和程序性记忆（Procedural）。重点分析了海马体在巩固新经验中的关键作用，以及遗忘并非失败，而是优化信息处理效率的必要机制。 虚假记忆的生成机制： 借助社会心理学和神经影像学证据，本章深入探讨了记忆的错误引导（Misinformation Effect）和“植入记忆”（Implanted Memories）的心理学基础。它讨论了在法律情境和社会压力下，个人叙事如何被外部因素扭曲。 情感对记忆编码的影响： 探讨了杏仁核（Amygdala）在调节情绪强度和记忆持久性之间的复杂关系。高强度的情绪事件往往被编码得更深刻，但这种编码的准确性反而可能降低，形成既清晰又扭曲的“闪回”经验。 第三部分：决策、理性与偏见 本部分转向心智的执行功能，考察人类如何在不确定性和时间压力下做出选择。它挑战了传统经济学中“理性人”的模型，转而探讨“有限理性”（Bounded Rationality）的现实。 启发式与系统性捷径： 详细介绍丹尼尔·卡尼曼（Daniel Kahneman）等人提出的双系统理论（System 1 and System 2 Thinking）。系统1的快速、直觉反应如何主导日常决策，以及系统2的慢速、分析性思考在何时会被唤起，以及唤起成本有多高。 前景理论（Prospect Theory）的深度解析： 不仅介绍了损失厌恶（Loss Aversion）的概念，更分析了它在金融市场、健康选择和政治立场固化中的深层体现。本书认为，对损失的规避往往比对等量收益的追求更具驱动力。 认知失调与信念固着： 探讨了当个体面对与其现有信念冲突的信息时，心智采取的自我保护机制——认知失调的缓解。这解释了为什么面对压倒性的证据，某些群体反而会更加坚信原有立场。 第四部分：心智的涌现与未来 最后一部分将视角拓展至更宏观的层面，探讨心智的涌现性质以及它在计算模型中的对应。 心智的涌现（Emergence）： 探讨了“意识”这一难题，并非试图提供最终答案，而是从复杂系统理论的角度，审视数以万计的神经元如何通过复杂的反馈回路，涌现出统一的主观体验。 心智的计算模型： 考察了连接主义（Connectionism）与符号主义（Symbolism）在模拟人类思维上的竞争与融合。这部分对当前人工智能的发展，特别是深度学习（Deep Learning）的局限性进行了审慎的评估，指出目前的模型在“常识推理”和“因果理解”方面与人类心智的差距所在。 社会互动中的心智： 引入心智理论（Theory of Mind, ToM）的概念，即我们推断他人意图、信念和欲望的能力。这种能力是社会合作的基础，也是我们理解复杂社会结构的必要工具。本书强调，心智并非孤立存在，而是通过不断的社会镜像和互动来塑造和完善的。 本书特色： 《思维的边界》以严谨的科学论证为骨架，辅以引人入胜的案例研究和历史回顾。它避免了晦涩的专业术语堆砌，而是致力于将复杂的神经科学发现转化为可供普通读者理解的洞察力工具。本书的最终目标是让读者对自己“如何思考”产生更深层次的怀疑和探索欲，认识到我们日常的确定性往往是心智精密而脆弱的产物。 目标读者： 对心理学、哲学、神经科学有兴趣的普通读者、决策者、教育工作者以及所有希望提升自我认知和批判性思维能力的专业人士。
著者信息
作者簡介
林孜郁（Tzu Yu Allison Lin）
Dr. Tzu Yu Allison Lin achieved her PhD with her study of Virginia Woolf and London narratives at Goldsmiths, University of London. Her research interests are visual and verbal representations, literary criticism and language teaching. She has articles and books published in English, including the most recent, Art and Narrative (2019). She is teaching at Gaziantep University, Turkey.
林孜郁（Tzu Yu Allison Lin）
Dr. Tzu Yu Allison Lin achieved her PhD with her study of Virginia Woolf and London narratives at Goldsmiths, University of London. Her research interests are visual and verbal representations, literary criticism and language teaching. She has articles and books published in English, including the most recent, Art and Narrative (2019). She is teaching at Gaziantep University, Turkey.
图书目录
Acknowledgements
Preface
1 Seeing Nature and the Cities
2 The Reading Self
Works Cited
Preface
1 Seeing Nature and the Cities
2 The Reading Self
Works Cited
图书试读
序
【Acknowledgements】
I want to thank Mr. Michael Song, the President of Showwe Publisher (Taipei, Taiwan), for his encouragement and his thoughtfulness. My thanks also go to Irene Cheng and Lestat Yin for making this book possible.
【Preface】
The initial idea of writing such a book on the condition of language comes from a question, which was asked by Jean-Paul Sartre in his book, What is Literature? In fact, Sartre truly wanted to ask himself and the readers, this essential question - 'What is Writing'?
In Sartre's Words, again, he mentioned the way in which Charles Schweitzer was 'amazed' (Sartre 89) by the French language. In some ways, Schweitzer did not consider himself 'as a writer' - he 'played' with the language, and yet, 'had not quite made it his own' (Sartre 89).
Sartre's words indicate that to write in a specific language - as a writer - firstly one has to feel and to appreciate the sophistication of that particular language. Secondly, one needs to make this language his or her own, in order to make it alive in a written form.
Literature is not all about a play of a language, or a linguistic game. The written pages are not only a representation of the black and the white; the verbal and the visual. A writer somehow does not only write a book. He or she - most importantly - lives a book. The text itself does not only represent the condition of language - rather, it does represent the condition of one's own self.
Allison Lin
Gaziantep 2021
【Acknowledgements】
I want to thank Mr. Michael Song, the President of Showwe Publisher (Taipei, Taiwan), for his encouragement and his thoughtfulness. My thanks also go to Irene Cheng and Lestat Yin for making this book possible.
【Preface】
The initial idea of writing such a book on the condition of language comes from a question, which was asked by Jean-Paul Sartre in his book, What is Literature? In fact, Sartre truly wanted to ask himself and the readers, this essential question - 'What is Writing'?
In Sartre's Words, again, he mentioned the way in which Charles Schweitzer was 'amazed' (Sartre 89) by the French language. In some ways, Schweitzer did not consider himself 'as a writer' - he 'played' with the language, and yet, 'had not quite made it his own' (Sartre 89).
Sartre's words indicate that to write in a specific language - as a writer - firstly one has to feel and to appreciate the sophistication of that particular language. Secondly, one needs to make this language his or her own, in order to make it alive in a written form.
Literature is not all about a play of a language, or a linguistic game. The written pages are not only a representation of the black and the white; the verbal and the visual. A writer somehow does not only write a book. He or she - most importantly - lives a book. The text itself does not only represent the condition of language - rather, it does represent the condition of one's own self.
Allison Lin
Gaziantep 2021
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