本文从经验主义的视角考察了感觉词汇及其现象意义的相关问题。基于感觉词汇的哲学考察和语言学划分,本研究发现:1)表示原型概念的感觉词汇在词汇学习上具有优先的认识论地位;2)感觉词汇具有现象意义,而且其现象意义可以经由提问What is...本文从经验主义的视角考察了感觉词汇及其现象意义的相关问题。基于感觉词汇的哲学考察和语言学划分,本研究发现:1)表示原型概念的感觉词汇在词汇学习上具有优先的认识论地位;2)感觉词汇具有现象意义,而且其现象意义可以经由提问What is X like?或What is it like for o to(be)X?而得以判定;3)现象意义可以用来统一地解释Frege的涵义和色彩义理论。从这个角度上看,研究现象意义可望丰富现有的语义学研究。展开更多
This paper demonstrates how much the forest was used by medieval writers as a symbolic space where critical events take place deeply affecting their protagonists. The forest motif can be found in the works of St. Augu...This paper demonstrates how much the forest was used by medieval writers as a symbolic space where critical events take place deeply affecting their protagonists. The forest motif can be found in the works of St. Augustine as well as in Dante＇s Divina Commedia （ca. 1308-1321）, and then in a plethora of other texts. Here the author examines more closely the symbolic meaning of the forest as a mysterious, dangerous, yet also spiritual location in Wolfram von Eschenbach＇s Titurel （ca. 1220） and then in two 15th-century prose novels： Thtiring von Ringoltingen＇s Melusine （1456） and the anonymous Fortunatus （1509）. Each time we recognize how much the poets placed their central figures one in the forest where their life takes a major turn. Recognizing this intriguing function of the forest as a metaphor and symbol, we can employ the modern interest in and fascination with the forest as a refuge from the destruction of the natural environment through modem civilization as segue to attract students to the study of medieval literature once again.展开更多
文摘本文从经验主义的视角考察了感觉词汇及其现象意义的相关问题。基于感觉词汇的哲学考察和语言学划分,本研究发现:1)表示原型概念的感觉词汇在词汇学习上具有优先的认识论地位;2)感觉词汇具有现象意义,而且其现象意义可以经由提问What is X like?或What is it like for o to(be)X?而得以判定;3)现象意义可以用来统一地解释Frege的涵义和色彩义理论。从这个角度上看,研究现象意义可望丰富现有的语义学研究。
文摘This paper demonstrates how much the forest was used by medieval writers as a symbolic space where critical events take place deeply affecting their protagonists. The forest motif can be found in the works of St. Augustine as well as in Dante＇s Divina Commedia （ca. 1308-1321）, and then in a plethora of other texts. Here the author examines more closely the symbolic meaning of the forest as a mysterious, dangerous, yet also spiritual location in Wolfram von Eschenbach＇s Titurel （ca. 1220） and then in two 15th-century prose novels： Thtiring von Ringoltingen＇s Melusine （1456） and the anonymous Fortunatus （1509）. Each time we recognize how much the poets placed their central figures one in the forest where their life takes a major turn. Recognizing this intriguing function of the forest as a metaphor and symbol, we can employ the modern interest in and fascination with the forest as a refuge from the destruction of the natural environment through modem civilization as segue to attract students to the study of medieval literature once again.
