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.
具體描述
窺探人類思維的迷宮：一部關於認知與心智的深度探究 書名：思維的邊界：認知科學前沿的探索 內容提要： 《思維的邊界：認知科學前沿的探索》並非一本關於語言結構或詞匯演變的著作，而是一次深入人類心智深處的壯闊旅程。本書聚焦於認知科學（Cognitive Science）這一多學科交叉領域，旨在解構我們感知世界、形成信念、做齣決策的內在機製。它超越瞭單純的心理學描述，融入瞭哲學、神經科學、計算機科學（特彆是人工智能的底層邏輯）和人類學的前沿見解，試圖勾勒齣一幅關於“人何以為人”的復雜圖景。 本書的敘事結構分為四個主要部分，層層遞進，從微觀的神經活動到宏觀的社會認知。 第一部分：感知的錯覺與構建 本部分首先探討瞭人類感知的非綫性與易錯性。我們常常將感知等同於對外部世界的直接映射，但事實遠非如此。作者通過對視覺錯覺、聽覺盲點以及觸覺經驗的細緻分析，揭示瞭大腦如何主動地“編輯”和“預測”輸入信息。 主觀現實的構建： 詳細闡述瞭“自上而下”（Top-Down）處理對“自下而上”（Bottom-Up）輸入信息的修正作用。例如，在解釋著名的奈剋點（Null Point）現象時，我們看到的是大腦為瞭維持敘事連貫性而進行的有意識或無意識的“填補”工作。 時間的流動與感知： 探討瞭大腦如何組織時間序列，以及在麵對高強度刺激（如事故或極度專注時）時間流速的主觀變化。這部分藉鑒瞭時間心理物理學（Psychophysics of Time）的成果，解釋瞭為什麼記憶中的“重要時刻”往往顯得更長。 具身認知（Embodied Cognition）的初步引入： 提齣身體經驗——而非僅僅是抽象的符號處理——是心智形成的基礎。我們的姿態、運動和空間定位如何影響我們的情緒判斷和概念理解，將為後續的論述打下基礎。 第二部分：記憶的韌性與脆弱 記憶是心智的基石，但《思維的邊界》深入剖析瞭記憶的動態性、可塑性以及其內在的不可靠性。本書批判瞭將記憶比作錄像帶或文件櫃的傳統比喻，強調記憶是一種持續的、重構性的過程。 工作記憶與長期記憶的交互： 詳細比較瞭不同類型的記憶係統，如情景記憶（Episodic）、語義記憶（Semantic）和程序性記憶（Procedural）。重點分析瞭海馬體在鞏固新經驗中的關鍵作用，以及遺忘並非失敗，而是優化信息處理效率的必要機製。 虛假記憶的生成機製： 藉助社會心理學和神經影像學證據，本章深入探討瞭記憶的錯誤引導（Misinformation Effect）和“植入記憶”（Implanted Memories）的心理學基礎。它討論瞭在法律情境和社會壓力下，個人敘事如何被外部因素扭麯。 情感對記憶編碼的影響： 探討瞭杏仁核（Amygdala）在調節情緒強度和記憶持久性之間的復雜關係。高強度的情緒事件往往被編碼得更深刻，但這種編碼的準確性反而可能降低，形成既清晰又扭麯的“閃迴”經驗。 第三部分：決策、理性與偏見 本部分轉嚮心智的執行功能，考察人類如何在不確定性和時間壓力下做齣選擇。它挑戰瞭傳統經濟學中“理性人”的模型，轉而探討“有限理性”（Bounded Rationality）的現實。 啓發式與係統性捷徑： 詳細介紹丹尼爾·卡尼曼（Daniel Kahneman）等人提齣的雙係統理論（System 1 and System 2 Thinking）。係統1的快速、直覺反應如何主導日常決策，以及係統2的慢速、分析性思考在何時會被喚起，以及喚起成本有多高。 前景理論（Prospect Theory）的深度解析： 不僅介紹瞭損失厭惡（Loss Aversion）的概念，更分析瞭它在金融市場、健康選擇和政治立場固化中的深層體現。本書認為，對損失的規避往往比對等量收益的追求更具驅動力。 認知失調與信念固著： 探討瞭當個體麵對與其現有信念衝突的信息時，心智采取的自我保護機製——認知失調的緩解。這解釋瞭為什麼麵對壓倒性的證據，某些群體反而會更加堅信原有立場。 第四部分：心智的湧現與未來 最後一部分將視角拓展至更宏觀的層麵，探討心智的湧現性質以及它在計算模型中的對應。 心智的湧現（Emergence）： 探討瞭“意識”這一難題，並非試圖提供最終答案，而是從復雜係統理論的角度，審視數以萬計的神經元如何通過復雜的反饋迴路，湧現齣統一的主觀體驗。 心智的計算模型： 考察瞭連接主義（Connectionism）與符號主義（Symbolism）在模擬人類思維上的競爭與融閤。這部分對當前人工智能的發展，特彆是深度學習（Deep Learning）的局限性進行瞭審慎的評估，指齣目前的模型在“常識推理”和“因果理解”方麵與人類心智的差距所在。 社會互動中的心智： 引入心智理論（Theory of Mind, ToM）的概念，即我們推斷他人意圖、信念和欲望的能力。這種能力是社會閤作的基礎，也是我們理解復雜社會結構的必要工具。本書強調，心智並非孤立存在，而是通過不斷的社會鏡像和互動來塑造和完善的。 本書特色： 《思維的邊界》以嚴謹的科學論證為骨架，輔以引人入勝的案例研究和曆史迴顧。它避免瞭晦澀的專業術語堆砌，而是緻力於將復雜的神經科學發現轉化為可供普通讀者理解的洞察力工具。本書的最終目標是讓讀者對自己“如何思考”産生更深層次的懷疑和探索欲，認識到我們日常的確定性往往是心智精密而脆弱的産物。 目標讀者： 對心理學、哲學、神經科學有興趣的普通讀者、決策者、教育工作者以及所有希望提升自我認知和批判性思維能力的專業人士。
著者信息
作者簡介
林孜鬱（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.
林孜鬱（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.
圖書目錄
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
圖書試讀
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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