Social cognition,social neuroscience,and evolutionary social psychology: What's missing?

In this paper I argue that something important, and something social, is missing from contemporary accounts of social cognition, social neuroscience and evolutionary social psychology. Contemporary accounts of social cognition focus on cognition directed towards social objects, that is, towards persons and social groups. In contrast, early twentieth century accounts of socially engaged cognition focused upon beliefs and attitudes oriented to the represented beliefs and attitudes of members of social ‘reference groups’ and directed towards both social and non‐social objects. I argue that this earlier conception of socially engaged cognition should be integrated with contemporary research on social cognition, social neuroscience and evolutionary social psychology, since it poses a challenge but also an opportunity for these disciplines.     

Diaspora as aesthetic formation: community sports events and the making of a Somali diaspora

This paper uses the concept of aesthetic formation to examine the practices through which diasporic imaginations become tangible and experienced as ‘real’. The authors interpret sport as an embodied aesthetic practice through which diasporas materialise, with important implications for identification and belonging. Drawing on ethnographic fieldwork on a transnational community-based sports event, the Amsterdam Futsal Tournament, the paper discusses how articulations of Somali diasporism become tangible and embodied in subjects who participate in this event. The authors conclude that these materialisation practices can simultaneously elicit multiple forms and levels of belonging that also foster a sense of integration and belonging to the nation.     

形象思维在文学作品中的运用——以《廊桥遗梦》为例

本文拟从形象思维这一独特的视角分析其在作品《廊桥遗梦》中的运用。     

试析存在论视域的先秦道家审美观

从存在主义哲学的视野辨析先秦道家学说的存在论本质.道家的审美观念是基于"道境"的生存论体验,对"道境"的体悟决定了其对"本真美"的言说方式.这与儒家的审美观形成了鲜明的对比.     

《清贫》唤醒的记忆——论《〈清贫〉颂》的审美价值及主旋律歌曲创作特色

<〈清贫〉颂>通过"歌诗"的状形功能,将抽象的思想情感寓于具象的景物之中,将中华民族精神与共产主义理想信念完美融合,构筑了"崇高美"的表现形态.在音韵与句式的安排及引用语典的修辞方面体现了歌词独特的美学价值.<〈清贫〉颂>在音乐形态上运用了"母曲衍生"的旋法及引申式的多段体结构,符合当代的民族审美取向.平民化的视角及广泛传唱的"接受效果"为主旋律歌曲创作提供了借鉴.     

标志审美意象中“似与不似”的物态化属性

标志的审美意象是一种审美的体验与意会,它是以物态化的视觉形式形成意象审美的沟通与心领神会。在标志审美意象的物态化中,各类审美形态大都以"似与不似"或"似此似彼"的表现形式体现出独特的、具有创造性的审美特征,因而,"象"的"似与不似"在标志的审美意象中体现的极为明显,成为其特有的属性。以中国古典艺术创作理论中的"形"与"神"的关系、"虚实相生"、"惊奇感"等美学思想,融合西方美学的"距离说"理论,探讨在标志设计中对审美意象创作的形态构建与分寸把握,提出只有摒弃过于"似"与过于"不似",才能做到标志的"形神兼备""形神相合""虚实相生"并进而达到其视觉传达效果的完美体现;对现代标志艺术设计中的审美意象创造作出一定意义上的理论阐释,揭示其"似与不似"这一物态化的基本特征与创作规律。     

《娥并与桑洛》和《阿诗玛》篇法比较

《娥并与桑洛》和《阿诗玛》分别是傣族和彝族代表性的民间叙事长诗。二者在篇法上呈现迥异的审美风格倾向,前者优美,后者凝重。它们的篇法不只是与逻辑和认知相联系的话语规则,本身就是隐喻和象征,是对各自民族文化性格的生动写照。借助叙事学分析,更有助于我们看清这一点。     

Bourdieu in Contention and Deliberation: Response to Lamont and Lizardo

This essay responds to Lamont’s (2011) article “How Has Bourdieu Been Good to Think With? The Case of the United States,” and Lizardo’s (2011) essay “The Three Phases of Bourdieu’s U.S. Reception,” both of which appear in this issue.     

Theorizing the social: Émile Durkheim's theory of force and energy

This paper offers a new interpretation of Émile Durkheim's The Elementary Forms of Religious Life (1912) as the basis for reconsidering the Tarde–Durkheim debate of 1903 and the distinctions between a theory of social force and a theory of social assemblage. Resisting traditional interpretations of Durkheim's scientism, this essay traces how concepts of force and energy are centrally developed in Elementary Forms to draw new lines between epistemology to ontology for twentieth-century theory. I argue that Durkheim develops an ‘energetic epistemology’ that conceives of the human capacity for shared meaning as a product of invested energy in the form of continually enacted and evolving material practice, thought, and attention. According to Durkheim, when a member of a collective perceives a god or feels belief, he or she actually perceives the accumulated energy of on-going creation and maintenance of objects and ideas by members of a collective. Sacred objects, images, and ideas bear the trace of collective energy the more they are carefully crafted, maintained in spaces that are specially arranged, and written into behavioural codes. This reading of Durkheim allows us to consider him in a lineage of social constructivists and, particularly, in relation to Ludwik Fleck, who has been largely confined to different theoretical discussions when his contributions to sociology have been acknowledged at all. By reconsidering Durkheim, we have occasion to rethink his sociology and understand how he redrew the lines between thought and action, between epistemology and ontology, through the material framework of energy and force.     

论亨普尔的科学观

亨普尔的科学观是以逻辑经验主义为其基本立场,以数理逻辑为其科学研究的方法,在此基础上对科学的结构与功能、科学的形成过程及其合理性、进步性的根据进行深入探讨,从而达到进一步改进科学,为科学的发展服务的目的。他的科学观指引他对科学的重要问题进行深入系统逻辑严密的研究,其所有作都是围绕对科学问题的研究展开的。他放宽了经验主义认识观的范围,指出在方法论中对科学目标的解释存在一个从语义的本体论到认识论地相对化的转向,逻辑经验主义认识意义标准具有整体论的倾向;在关于科学合理性问题上他试图融合历史的和逻辑经验主义的观点。