《青少年读物中的情感:动人的故事》,是两位国际学者Karen Coats和Gretchen Papazian编著的一部儿童读物分析著作,也是John Benjamins公司出版的“少儿文学、文化、认知”系列著作之一。该书从生理基础出发,结合文化、认知和心理学,囊...《青少年读物中的情感:动人的故事》,是两位国际学者Karen Coats和Gretchen Papazian编著的一部儿童读物分析著作,也是John Benjamins公司出版的“少儿文学、文化、认知”系列著作之一。该书从生理基础出发,结合文化、认知和心理学,囊括对多种情感的分析;汇集世界范围内的文本分析文章;聚焦儿童文学、儿童文化和认知;试图结合包括文学研究、文本分析、语言学分析在内的视角,以促进儿童文学研究领域新的理论研究方法的发展。As part of the Literature, Culture, and Cognition for Children series published by John Benjamins, Emotion in Texts for Children and Young Adults: Moving Stories, edited by esteemed scholars Karen Coats and Gretchen Papazian, offers a comprehensive analysis of emotional expressions within literature for children and young adults. This volume explores a wide spectrum of emotions from a physiological perspective, interweaving insights from cultural studies, cognitive science, and psychology. By assembling contributions from scholars worldwide, the book emphasizes children’s literature, childhood culture, and cognitive engagement. It seeks to advance the field of children’s literature studies by integrating methodologies from literary studies, textual analysis, and linguistic analysis, thus proposing innovative theoretical frameworks and research approaches.展开更多
This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the di...This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.展开更多
文摘《青少年读物中的情感:动人的故事》,是两位国际学者Karen Coats和Gretchen Papazian编著的一部儿童读物分析著作,也是John Benjamins公司出版的“少儿文学、文化、认知”系列著作之一。该书从生理基础出发,结合文化、认知和心理学,囊括对多种情感的分析;汇集世界范围内的文本分析文章;聚焦儿童文学、儿童文化和认知;试图结合包括文学研究、文本分析、语言学分析在内的视角,以促进儿童文学研究领域新的理论研究方法的发展。As part of the Literature, Culture, and Cognition for Children series published by John Benjamins, Emotion in Texts for Children and Young Adults: Moving Stories, edited by esteemed scholars Karen Coats and Gretchen Papazian, offers a comprehensive analysis of emotional expressions within literature for children and young adults. This volume explores a wide spectrum of emotions from a physiological perspective, interweaving insights from cultural studies, cognitive science, and psychology. By assembling contributions from scholars worldwide, the book emphasizes children’s literature, childhood culture, and cognitive engagement. It seeks to advance the field of children’s literature studies by integrating methodologies from literary studies, textual analysis, and linguistic analysis, thus proposing innovative theoretical frameworks and research approaches.
文摘This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.
