Human Motivation in Question: Discussing Emotions,Motives, and Subjectivity from a Cultural‐Historical Standpoint

Vygotsky, at the end of his life, advanced a new representation of a psychological system that was ruled by a cognitive‐emotional unity, a theorization that remains inconclusive due to Vygotsky's early death. This article discusses the advances made by Vygotsky in the comprehension of human motivation through his concepts of sense and perezhivanie at the end of his work. Through these concepts, he further advanced the discussion of motivation, despite the fact that these concepts have only very recently been considered a relevant part of his legacy in both Russian and Western psychology. This paper discusses the departure from and the historical presentations of the concept of motive in the following two main approaches of Soviet psychology that were mistakenly equated in Western interpretations: Vygotsky's approach, mainly at the first as last moment of his work, and Leontiev's Activity Theory. Based on the final theoretical positions of Vygotsky and of other Soviet authors, and further developing this legacy, this article proposes a new definition of motivation as a specific quality of subjectively configured systems and defines motive as intrinsic to the functioning of all psychological function defines subjective functions as subjectively configured processes. This new proposal of human motivation within a new way of defining subjectivity defines new categories as subjective senses and subjective configurations on which the author bases a specific approach for advancing the topic of subjectivity and motivation within a cultural‐historical framework.     

Visual impairment,sport and somatic work: the auditory experiences of blind and partially sighted cricket players

This article explores the auditory experiences of a group of visually impaired elite sportsmen and how their sporting participation provides an alternative way of being in team sport. Here, the focus is upon the constructed auditory structure of visually impaired cricket and how this vast, featureless sporting space is endowed with social value. Unlike previous research into the spatial experiences of relatively stable environments, this article is the first to detail how visually impaired people conceptualize and negotiate such a dynamic and fluid space. Drawing upon the concepts of somatic work, and auditory knowledge, this article establishes the participants’ rich sensuous experiences of this physical activity and how their negotiation of the dynamic sporting environment, through the active creation of unique sense-making strategies, subverts the dominant ocularcentric notion of the sporting body. Rather than blindness being reduced to a state of deficit, visually impaired cricket provides an embodied platform to celebrate the participants’ multifarious capabilities.     

《雷雨》新探

“雷雨”具有双重的象征意义 :一方面 ,它意味着对压抑、束缚的解脱 ,意味着一种源于人性本能的巨大力量 ,曹禺对它的态度无疑是肯定的 ;另一方面 ,“雷雨”又意味着冲决一切、毁灭一切的破坏力 ,这又是曹禺所难以接受的。因此 ,“雷雨”的主题 ,不只是反对封建 ,张扬个性 ,而是反映出现代人共同的生存痛苦。     

浅论高校法律基础课的改革--对大学生法律素质的调查和思考

本文通过对我校十个系的近300名学生进行问卷调查.并对调查结果进行了分析,得出大学生在法律素质方面存在的问题以及产生这些问题的原因,并针对这些问题,提出在高校的法律教学中进行改革的对策.     

外语教学中的文化意识与新流派方法的引入

英语教学的本质到底是什么?这个问题的答案是动态的:在不同的历史时期人们对这个问题的认识也不尽相同。随之产生的各种流派也反映出人们对这个问题的认识的发展。现代语言学的发展给英语教学也带来了发展的契机,交际功能法的发展似乎引入新的力量支持,比如话语的分析使功能分析更加系统,而分析的对象已经从纯语言转变到文化的层次。     

“感性罩壳”下的诗意——论《大地》中土地意象的多重构成

赛珍珠《大地》蕴含丰富的土地意象。同类题材作品中的土地意象仅是作用于视觉物体的描写,恰当地点缀在人物所在情节的必要部分即适可而止;而《大地》中却延伸至听觉的、触觉的、嗅觉的、味觉的乃至温觉的、幻觉的,土地这一景物在作品中已被多重感觉所具有的品质、价值和意义多重再现和表现;进而土地的意象还联结了主人公与自然与他人的种种关系,使得上述两个层面的描写渗透到作品的深层文化意蕴。由此,土地与大地的意象同广袤的自然社会无不相连,所指向种种层次的意旨成了再也剥不开的浑然一体。     

“形借”说辨

段玉裁在<说文解字注>中提出了形借理论,并列举出五组例字,这五组字或本为一个字,或本为依声托事,或一字为另一字之义项,皆非因形近而相借.     

期刊编辑理念的转变与更新

在新的世纪,随着市场经济的发展和互联网时代的到来,期刊编辑的理念也应转变与更新。首先是要有开拓创新意识;其次是要有市场意识;再次是品牌意识。此外还要有竞争意识、信息意识、超前意识。这些都是新的时代对一个合格的编辑的要求。     

义项划分的原则

古汉语中词的义项划分首先要进行穷尽性的用例调查;对词义进行科学的概括;同时充分注意词义的引申规律;还要注意其区别性义素特征,同时要注意其形态标记(音或形),还要关注其组合特征等。     

从《诗与感觉的命运》看苏珊·斯图尔特的诗学观

苏珊·斯图尔特是美国当代著名诗人与批评家,《诗与感觉的命运》是她的代表性批评论著。她的诗学思想融合了多种学科的知识,具有多样性、跨学科性以及时代性的特点。她提出,诗歌产生于感官体验,诗歌创作是一种赋形活动,是神人同形同性化的过程。所有美学的创造和接受,是为了使人性躯体变得真实可信、生动可见和清晰可闻。大自然是诗人灵感的永恒源泉。人的五种感官功能之间并没有绝对的界限,现代生活对感官的控制加深了人与感官的异化,改变了我们感知的途径,但感觉作为认知的方式不会消失。