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As instances of behavior, words interact with environments. But they also interact with each other and with other kinds of behavior. Because of the interlocking nature of the contingencies into which words enter, their behavioral properties may become increasingly removed from nonverbal contingencies, and their relationship to those contingencies may become distorted by the social contingencies that maintain verbal behavior. Verbal behavior is an exceedingly efficient way in which one organism can change the behavior of another. All other functions of verbal behavior derive from this most basic function, sometimes called verbal governance. Functional verbal antecedents in verbal governance may be extended across time and space when individuals replicate the verbal behavior of others or their own verbal behavior. Differential contact with different verbal antecedents may follow from differential attention to verbal stimuli correlated with consequential events. Once in place, verbal behavior can be shaped by (usually social) consequences. Because these four verbal processes (verbal governance, replication, differential attention, and verbal shaping) share common stimulus and response terms, they produce interlocking contingencies in which extensive classes of behavior come to be dominated by verbal antecedents. Very different consequences follow from verbal behavior depending on whether it is anchored to environmental events, as in scientific verbal practices, or becomes independent of it, as in religious fundamentalism. 相似文献
214.
The following paper describes Lowenkron''s model of joint (stimulus) control. Joint control is described as a means of accounting for performances, especially generalized performances, for which a history of contingency control does not provide an adequate account. Examples are provided to illustrate instances in which joint control may facilitate performance of a task. 相似文献
215.
绘画艺术构思是艺术家对生活原料进行改造制作的一种复杂的精神劳动 ,主题思想是作品的灵魂 ,它决定着题材的处理以及创作的其他方面 ;对所要表达的主题思想有深刻的理解 ,就能更好地处理题材。艺术构思的目的在于创造典型的、完整的艺术形象。灵感的特点是爆发式的 ,像煤气遇到火种一样 ,这种爆发 ,实质上是认识过程中的飞跃 相似文献
216.
邵伟国 《宁波大学学报(人文科学版)》2006,19(1):89-93
文章提出“内部被动句”和“外部被动句”概念并从四个方面进行论述。被动句的历史溯源;“V NP Prep”动词习语的结构分析;“内部被动句”和“外部被动句”转换的特点;被动转换的语义限制。最后强调“内部被动句”和“外部被动句”是英语被动转换中比较独特的现象,应谨慎使用。 相似文献
217.
蔺春华 《兰州大学学报(社会科学版)》2003,31(5):19-23
张承志的创作总是以燃烧的色调去染化、丰富小说的艺术表现空间 ,将作家壮怀激烈、纵横驰骋的情绪释放出来 ,这构成了他独有的美学追求。本文拟从荷兰艺术家温森特·梵高对张承志的影响出发 ,尝试解读这两颗激情洋溢的心灵之间的对话 相似文献
218.
不同文化的人之间进行交流难免产生文化误解甚至冲突 ,分析不同文化之间的非言语语义 ,帮助跨文化交际者不断提高跨文化意识 ,自觉排除文化差异的干扰 ,能够保证跨文化交际的顺利进行。 相似文献
219.
Bret Hinsch 《Asian Ethnicity》2004,5(1):81-103
Early Chinese histories sometimes record two extremely different myths about the origins of a foreign people: a native version and a Sinicised version. This is the case with myths about the Xiongnu, Xianbei and Korean peoples. Native and Sinicised origin myths had different functions. Sometimes, Chinese wanted to create psychological distance between themselves and potentially dangerous foreign peoples. Recounting a native myth bolstered Chinese ethnic pride by making other peoples seem strange and exotic, in contrast to normative Chinese culture. In other instances, Chinese told Sinicised myths to assimilate foreign peoples into Chinese culture. These myths legitimised Chinese expansion and conquest, but could also be used against China by foreign invaders. The coexistence of native and Sinicised versions of ethnic origin myths in early historical records shows the mutability of ethnicity in early China, and the manipulation of ethnic identity for political and military ends. 相似文献
220.
《诗经》与《左传》意动用法之比较 总被引:1,自引:1,他引:0
方文一 《浙江师范大学学报(社会科学版)》2002,27(1):77-81
本文主要从主观意念的表达法、意动用法及其特点三个方面进行比较 ,阐明《诗经》与《左传》在这方面的同异 ,并说明意动用法在较早的史料中并不多见。 相似文献