陳明發（亦筆）的詩 1977 〈傘〉（4）

亦筆，馬來西亞現代詩作者，作品曾收入《大馬新銳詩選》等合輯。

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Comment by 超人偶爾飛 on September 26, 2024 at 12:52pm: 愛墾APP: 西洋詩中的Evocative Objects

在西洋詩歌中，Evocative Objects（呼喚性物件）扮演著「認知詩學」的重要角色。這些物件不僅是詩歌中的意象或象征，更是通過引發讀者的情感、記憶和認知反應，促使他們在理解和體驗詩歌時進入深層思考——

激發情感與記憶的共鳴

例子：威廉·華茲華斯（William Wordsworth）的《水仙》（I Wandered Lonely as a Cloud）中，水仙花成為了喚起詩人內心愉悅和平靜的重要物件。這些花不僅是自然景觀的描寫，更通過引發詩人和讀者對自然美景的情感共鳴，喚起記憶與內心世界的聯結。

認知詩學角度：呼喚性物件如水仙花，可以被視為一種觸發讀者內在體驗和情感的工具。通過這種物件，詩人激發讀者在閱讀過程中喚起個人記憶和情感體驗，從而深化對詩歌主題的理解。

象征意義的認知觸發

例子：羅伯特·弗羅斯特（Robert Frost）的《未選擇的路》（The Road Not Taken）中，岔路口象征著人生的選擇。雖然這條路只是一個物件，但它承載了關於選擇、後悔和人生路徑的復雜思考。

認知詩學角度：岔路口作為呼喚性物件，激發讀者對人生決策和選擇過程的認知反應。讀者通過聯想到自身的選擇經歷，對詩中表達的主題產生更深層次的共鳴與理解。

隱喻與象征的認知建構

例子：約翰·濟慈（John Keats）的《希臘古甕頌》（Ode on a Grecian Urn）中，古甕作為詩的核心物件，象征著永恆與美的追求。

認知詩學角度：古甕不僅是物質的存在，它在讀者的認知中激發對歷史、藝術、永恆等抽象概念的思考。通過這一呼喚性物件，詩歌引導讀者在認知層面上構建對永恆美和藝術價值的理解。

Comment by 超人偶爾飛 on September 26, 2024 at 12:52pm: 跨時空的情感連接

例子：艾米莉·狄金森（Emily Dickinson）的詩歌中，諸如信件、花朵等日常物件常被用來表達深邃的情感和思想。例如，在她的《這就是我的信給世界》（This is my letter to the World）中，信件成為她與世人溝通的重要物件。

認知詩學角度：信件作為呼喚性物件，不僅傳遞了信息，更在認知上喚起讀者對孤獨、傳達和被理解的復雜情感思考。這種物件引發了讀者在時間和空間上的情感聯結，使得詩歌具有深遠的影響力。

情感轉向與認知重塑

例子：T·S·艾略特（T.S. Eliot）的《荒原》（The Waste Land）中，碎片化的物件如破碎的杯子、朽壞的土地等，象征著現代世界的破碎和迷失。

認知詩學角度：這些呼喚性物件通過其破碎性，喚起讀者對現代世界混亂、疏離感的認知反應。艾略特通過這些物件促使讀者在認知上重塑對世界的理解，形成對現代主義復雜主題的深刻感知。

Evocative Objects在西洋詩歌中不僅是感官描寫的工具，更是詩人用來喚起讀者情感、記憶和認知的媒介。這些物件通過其象征性、隱喻性以及與讀者生活經驗的關聯，成為引發讀者深層次思考和情感共鳴的關鍵。因此，在「認知詩學」的框架下，這些呼喚性物件通過激發讀者的認知過程，構建出豐富的詩歌體驗、情動與意義，成為理解詩歌深層內涵的重要切入點。

相关：呼唤型造物 evocative object The Etymology of Vocative Linguistic Theory on Vocative Conation & Affects Vivo's aesthetics 內容是Evocative Object 当符号呼唤象征

Comment by 超人偶爾飛 on September 25, 2024 at 8:01pm: 愛墾APP: 情動地方文創

將地方文化創意與情動轉向（Affective Turn）或情感地理學（Affective Geography）結合起來，可藉以下策略實現，使地方文化/在地智慧不僅成為物理空間的一部分，還成為人們情感體驗和記憶的核心。同時，也促使地方創造力往新文創發展。

情感導向的文化創意

情感驅動的藝術創作: 鼓勵當地藝術家和社區成員創作反映個人和集體情感的藝術作品。這些作品可以是繪畫、雕塑、音樂或表演，通過表達地方文化中的情感元素，如鄉愁、喜悅、悲傷或希望，使地方文化創意成為情感地理學的一部分。

故事化情感表達: 將地方的歷史、傳說和個人故事轉化為情感驅動的創意內容，例如短片、紀錄片或詩歌集。通過這些創意作品，觀眾可以感受到地方文化中的情感深度，從而與地方產生更深的情感聯結。

情感空間的設計與體驗

情感景觀的設計: 在公共空間中融入具有情感象征意義的設計元素，如紀念碑、雕塑、壁畫等。這些景觀設計不僅代表地方文化，還可以喚起人們的情感記憶，如某個標志性建築物可能承載著一代人的回憶。

沉浸式情感體驗: 利用技術和創意，將地方的自然與文化元素轉化為沉浸式體驗，如虛擬現實（VR）或增強現實（AR）體驗，帶領參與者「回到過去」或「展望未來」，在情感層面深度體驗地方文化。

社區參與與情感共建

社區故事收集: 發起社區故事收集項目，鼓勵社區成員分享與地方相關的情感故事。將這些故事整合成一本情感地圖或情感地理文集，展示地方文化的情感維度，並通過出版或展覽的方式推廣。

跨代情感傳承: 通過創意項目，將老一輩的地方情感記憶傳遞給年輕一代，如組織跨代交流活動，或通過紀錄片和口述歷史項目記錄和傳承這些情感記憶。通過這種情感傳承，地方文化得以延續並在情感層面得到共鳴。

情感與經濟發展的聯動

情感驅動的地方品牌: 將地方文化與情感聯結打造為地方品牌，例如設計情感標簽或標志，賦予地方產品和服務以情感價值。通過品牌故事傳達地方的情感內涵，從而吸引消費者並推動地方經濟發展。

情感旅游體驗: 發展基於情感體驗的旅游項目，例如帶領游客參觀對當地人有重要情感意義的地點，並通過故事講述和互動活動，讓游客在情感上與地方文化產生共鳴。情感旅游不僅促進了地方經濟，也增強了游客對地方的情感認同。

文化創意中的情感轉向

情感驅動的活動策劃: 組織一系列以情感為主題的文化創意活動，如情感攝影展、詩歌朗誦會或情感主題音樂會。這些活動通過表達和探討與地方相關的情感議題，使地方文化創意更具有情感深度和共鳴。

地方情感記憶項目: 發起地方情感記憶保存項目，記錄和展示與地方相關的情感記憶，如紀念地方重要事件、慶祝地方節日或紀念個人情感故事。通過這些項目，地方文化在情感層面得以加強和傳播。

實現情感地理學的綜合策略

案例1: 在一個具有豐富歷史文化的城鎮，策劃「情感地圖」項目，收集並標注城鎮中居民認為情感重要的地點，如他們曾經的學校、家鄉的市場、或舉行重要事件的地方。然後通過設計創意地圖和互動數字應用，將這些地點與個人故事結合，讓外來者也能體驗到當地的情感共鳴。

案例2: 開展「鄉愁市集」活動，集中展示當地傳統工藝品、食物和音樂，結合故事講述和情感互動，讓居民和游客在活動中回憶和分享對地方的情感。

通過這些策略，地方文化創意不僅促進了地方經濟和教育的發展，還通過“情動轉向”（Affetvive Turn）和情感地理學的理念，使地方成為人們情感體驗的核心，從而增強地方的文化認同和情感歸屬感。

Comment by 超人偶爾飛 on September 23, 2024 at 2:36pm: The Relations between "Conation" & "Affects" within the Creativity Study

The relationship between conation and affects is particularly significant in the study of creativity, as both dimensions play crucial roles in the creative process. Creativity is not solely a cognitive function; it is deeply influenced by motivation (conation) and emotional states (affects), which shape how individuals approach problemsolving, idea generation, and artistic expression.

Conation in Creativity

Role of Motivation and Will: Conation drives the purposeful pursuit of creative activities. It involves the will to engage in creative work, persistence in the face of challenges, and the motivation to explore novel ideas. Conative factors such as intrinsic motivation, determination, and goal orientation are fundamental to sustaining creative efforts.

Impact on Creative Process: High conative drive enables individuals to move beyond mere idea generation to actively refine, develop, and implement creative concepts. This involves risktaking, exploring uncharted territories, and maintaining focus on creative goals despite setbacks.

Affects in Creativity

Emotional States as Catalysts: Affective states significantly influence creativity. Positive affects, such as joy, excitement, and curiosity, can enhance divergent thinking, allowing for more expansive and original ideas. Conversely, negative affects like frustration or anxiety might either hinder creativity or, in some cases, serve as catalysts for problemsolving when managed constructively.

Emotional Resonance and Artistic Expression: In artistic creativity, affects are not just influences but also the substance of creative work. Emotions drive the thematic and expressive elements of art, music, and writing, directly shaping the content and form of creative outputs.

Interaction Between Conation and Affects in Creativity

Comment by 超人偶爾飛 on September 23, 2024 at 2:34pm: Synergistic Effects: Conation and affects often interact synergistically to facilitate creative endeavors. For example, the motivation (conation) to pursue a challenging artistic project can be fueled by emotional passion (affect), creating a dynamic interplay that propels creative action.

Regulation of Affects Through Conation: Conative abilities, such as selfregulation and goalsetting, help manage emotional states during the creative process. For instance, when an artist experiences creative block or emotional distress, strong conative skills can help redirect focus, maintain effort, and persevere, transforming emotional turbulence into creative output.

Adaptive Flexibility: Creative individuals often exhibit adaptive flexibility in navigating between affective states and conative goals. They can harness positive emotions to enhance creativity while using motivational strategies to overcome negative emotions, thus maintaining creative momentum.

Theoretical Insights

BroadenandBuild Theory: This theory suggests that positive emotions broaden cognitive and behavioral repertoires, enhancing creativity. When combined with conative factors like persistence, this broadening effect is amplified, enabling sustained creative engagement.
Dual Pathway Model of Creativity: This model posits that creativity can emerge through both cognitive flexibility (enhanced by positive affects) and persistence (driven by conation). It highlights how affective states and motivational drives operate in tandem to influence creative outcomes.

Practical Implications in Creativity Studies

Enhancing Creative Performance: Understanding the interplay between conation and affects can inform strategies to enhance creativity, such as fostering environments that boost intrinsic motivation and regulate emotional states.

Creative Education and Training: Educational programs can focus on developing conative skills (like perseverance and goalsetting) alongside emotional intelligence to better prepare individuals for creative challenges.

In the study of creativity, conation and affects are intertwined forces that shape the creative journey. Conation provides the motivational drive, while affects infuse the creative process with emotional depth and resonance. Together, they form a dynamic interplay that underpins the emergence of creative thought and action.

相关：呼唤型造物 evocative object The Etymology of Vocative Linguistic Theory on Vocative Conation & Affects Vivo's aesthetics

Comment by 超人偶爾飛 on September 21, 2024 at 1:21pm: 爱垦APP: 语言、体验与象征的统一

朱莉娅·克里斯蒂瓦（Julia Kristeva）的诗性语言革命，尤其是她关于“符号态”（the semiotic）和“象征态”（the symbolic）理论，确实提供了一种可能性，将雅各布森的语言结构学与狄尔泰的认知体验，统一在一个更广泛的理论框架内。

通过她的符号态与象征态理论，克里斯蒂瓦展示了语言如何既是形式上的，又是深层次体验的载体，进而在诗性语言中实现了形式与体验的结合。这种理论综合为我们提供了一个更为复杂和全面的理解诗歌语言的框架，将语言的结构美感和情感体验视为不可分割的整体。

克里斯蒂瓦的诗性语言革命

克里斯蒂瓦的诗性语言革命，主要集中在她对语言的多重功能以及语言如何超越传统结构分析的理解。她借鉴了雅各布森的语言功能理论，尤其是诗性功能，但她进一步扩展了这一理论，将其置于符号学和精神分析的背景下。

符号界与象征界: 克里斯蒂瓦引入了“符号态”和“象征态”两个概念。符号态代表了前语言的、感性的、与身体和无意识相关的元素，而象征态则是有序的、理性的、与社会语言规则和文化法则相关的领域。她认为诗歌语言既在象征态中运作，也部分地突破了象征态的限制，通过符号态来表达深层的情感和无意识体验。

诗性语言的革命性: 克里斯蒂瓦主张，诗性语言的革命在于它能够打破象征界的规则，允许符号界的力量进入表达。这意味着，诗歌不仅仅是一种形式上的语言游戏，更是深层次情感和体验的表达，是对语言秩序的挑战和变革。

把雅各布森与狄尔泰统一起来

克里斯蒂瓦的理论可能将雅各布森与狄尔泰的思想统一在以下几个方面：

语言结构与体验的结合: 雅各布森强调语言的形式和结构，狄尔泰则关注个人的认知体验。克里斯蒂瓦通过符号态和象征态的互动，展示了语言如何既是结构性的，又是深刻体验的载体。她认为诗歌语言能够将无意识的体验（符号态）通过有意识的语言形式（象征态）表达出来。这一过程将语言的形式和个体的体验紧密结合起来，回应了雅各布森和狄尔泰的核心关切。

诗性语言中的体验维度: 克里斯蒂瓦扩展了雅各布森的诗性功能，认为诗性语言不仅关注语言的形式美感，更是体验的表达和生成。这与狄尔泰的思想产生共鸣，因为狄尔泰关注的正是体验如何通过艺术形式来表达。克里斯蒂瓦的诗性语言理论为理解这种表达提供了新的视角，将语言的形式和内容统一起来。

超越象征界的诗性功能: 在克里斯蒂瓦的理论中，诗性语言可以突破象征态的限制，触及更深层次的符号态体验。这种突破体现了语言在表达个人深层体验时的无限可能性。通过这种方式，克里斯蒂瓦的理论不仅关注语言的形式结构，还关注如何通过语言触及更深层的认知和情感体验，这在某种程度上整合了雅各布森的形式主义和狄尔泰的体验主义。

[爱垦APP情动转折 Affects-Percepts-Powers] 2025，愛墾網創立16載；陳明發博士在从事人力资源開發16年的基础上，轉入文創研究與推廣至今也已28年。浮生44个春秋，雖不算焦頭爛額也沒啥獎項可領，但自告奮勇的事還幹得不少。實踐多了，面對自己原創的或經手發佈出去的6萬筆左右內容，多少有些领悟。自信還有點前瞻的價值。現陸續整理出來，答謝這麼多年來默默支持著我們的國內外友好。有些事恐怕不是一代人能完成的，更不是一個人可能完成。現留點檔案，有緣並有能力的人若及時看到，對鄉土轉型或有參考價值。

Comment by 超人偶爾飛 on September 20, 2024 at 6:37pm: APP Iconada：Semiotics：Julia Kristiva & Roman Jakobson

[A: Affects P: Percepts P: Powers]

Julia Kristeva and Roman Jakobson are both influential figures in the fields of linguistics, literary theory, and semiotics, and their philosophies intersect in several significant ways. Kristeva was influenced by Jakobson's work, particularly his theories of language and communication, but she extended and transformed his ideas within her own theoretical framework. Here’s a look at the relationship between their philosophies:

Shared Interest in Language and Semiotics

Jakobson’s Linguistic Model: Roman Jakobson is known for his work in structural linguistics and his development of a model of communication that identifies six functions of language (referential, emotive, conative, phatic, metalingual, and poetic). His work emphasizes the structural and functional aspects of language, focusing on how meaning is constructed and communicated within specific linguistic systems.

Kristeva’s Semiotic Theory: Julia Kristeva, influenced by semiotics, particularly that of Jakobson and Ferdinand de Saussure, developed her own theory of the semiotic and the symbolic. The semiotic refers to the pre-linguistic, bodily, and affective dimensions of language, while the symbolic refers to the structured, social aspects of language. Kristeva’s semiotic theory builds on Jakobson’s structural insights but introduces a psychoanalytic dimension, focusing on how meaning is generated through the interaction between the unconscious (semiotic) and the conscious, socially regulated (symbolic) aspects of language.

The Poetic Function and Kristeva’s Revolution in Poetic Language

Jakobson’s Poetic Function: One of Jakobson’s key contributions to linguistics is his concept of the *poetic function* of language, which emphasizes the self-referential aspect of language where the focus is on the message for its own sake, rather than its referential meaning. This idea was central to his analysis of literary texts and the role of language in poetry.

Kristeva’s Extension of the Poetic: Kristeva extends Jakobson’s idea of the poetic function by arguing that poetic language disrupts the symbolic order and allows the semiotic to emerge. In Revolution in Poetic Language, Kristeva explores how avant-garde literary works, particularly those by poets like Stéphane Mallarmé and Lautréamont, break down the conventional structures of language (the symbolic) and allow for a revolutionary expression of the semiotic drives. While Jakobson focused on the formal properties of poetic language, Kristeva introduces a psychoanalytic perspective, considering how poetic language can be a site of transgression and transformation.

Structuralism vs. Post-Structuralism

Jakobson’s Structuralism: Jakobson was a central figure in the development of structuralism, which emphasizes the underlying structures that govern language and culture. His work is grounded in the idea that language is a system of signs, and meaning is derived from the relationships between these signs within the structure.

Comment by 超人偶爾飛 on September 20, 2024 at 6:37pm: Kristeva’s Post-Structuralism: Kristeva, while influenced by structuralism, is often associated with post-structuralism, which critiques and extends structuralist ideas. She argues that meaning is not fixed but is always in process, influenced by the interplay between the semiotic and symbolic. Her work challenges the stability of linguistic structures, emphasizing the fluidity and multiplicity of meaning. This post-structuralist approach marks a departure from Jakobson’s more rigid structuralist framework.

Intertextuality and Communication

Jakobson’s Communication Model: Jakobson’s model of communication is highly influential in understanding how messages are transmitted and interpreted within a linguistic framework. His emphasis on the different functions of language has been foundational in semiotics and communication theory.

Kristeva’s Intertextuality: Kristeva introduced the concept of *intertextuality,* which posits that texts are not isolated entities but are always in dialogue with other texts. This idea resonates with Jakobson’s focus on the communicative functions of language, but Kristeva extends it by emphasizing the dynamic, intertextual nature of meaning-making. For Kristeva, meaning arises not just from the structure of a single text but from the interconnections between multiple texts and cultural contexts.

Influence of Psychoanalysis

Jakobson’s Structural Approach: Jakobson’s approach to language and semiotics is primarily structural, focusing on the formal aspects of language and its communicative functions. He does not delve into the psychological dimensions of language in the way Kristeva does.

Kristeva’s Psychoanalytic Turn: Kristeva, influenced by psychoanalysis, particularly the work of Sigmund Freud and Jacques Lacan, integrates a psychoanalytic dimension into her theory of language. She explores how the unconscious influences language and how the semiotic dimension (associated with drives, rhythms, and pre-linguistic expressions) interacts with the symbolic. This psychoanalytic perspective adds depth to her critique of structuralism and expands the scope of Jakobson’s ideas.

Summary of the Relationship

The relationship between Julia Kristeva’s philosophy and that of Roman Jakobson is one of both influence and transformation. Kristeva builds on Jakobson’s insights into the structural and functional aspects of language but extends them into new territories by introducing psychoanalysis and the concept of the semiotic. While Jakobson provided a foundational model for understanding language’s structure and functions, Kristeva challenged the limitations of structuralism by exploring how language is also a site of unconscious drives, fluid identities, and constant transformation.

In summary, Kristeva’s work can be seen as both a continuation and a critique of Jakobson’s, pushing his ideas into the realm of post-structuralism and psychoanalysis to explore the complexities of language, meaning, and subjectivity.

Comment by 超人偶爾飛 on September 19, 2024 at 8:44pm: 爱垦網评注·身體的感覺能力 (affective capacity)

"身體的感覺能力 (affective capacity) 是時快時慢、如輕如重…等感覺關係下的作用 (acted)。"

此话强调了德勒兹概念中的“身体”（Body）在感知过程中表现出的动态性和变化性。"感觉能力"指的是身体对外界刺激、情感或情境的反应能力，也可以理解为身体如何感受、吸收并回应外在的影响。德勒兹和瓜塔里在讨论“感知”、“情感”或“情动”（Affect）概念时，强调身体的这种能力是多样的、流动的，并且会根据不同的环境、情境或刺激产生不同的反应。

时快时慢、如轻如重

这部分描述了身体感知过程中的变化与流动。感知并不是恒定的，而是会随着外界刺激的强弱或不同类型的影响，表现出不同的速度和强度：

时快时慢：身体在不同情境下的反应速度不同。有时候，某些外界的刺激可能引发快速的反应（如痛苦、突然的惊吓），而有时候，身体的反应则会更慢、更细腻（如沉思、缓慢感受某种情绪）。

如轻如重：感知能力不仅仅体现在速度上，还体现在感知的强度上。某些刺激可能很轻微（如轻风拂面），而某些刺激可能非常强烈（如震耳欲聋的声音或强烈的情绪冲击）。身体对这些轻重不一的感知信息作出相应的反应。

作用（acted）

“作用”指的是身体在感知这些变化时的表现或反应。也就是说，身体在面对不同的速度和强度的感知时，会作出不同的反应。这种反应是动态的，体现了身体的能动性和对环境的适应性。

整句话的含义

这句话强调了身体感知能力的变化性和能动性。身体的感知不是固定的，它会根据外界刺激的不同，表现出时快时慢、时轻时重的变化。这种变化表明了身体如何在不断变化的环境中进行调整，并作出相应的反应。身体并非被动接受外界的影响，而是主动参与到感知和反应的过程中，展现出它的活力与能动性。

因此，这句话可以被理解为：身体的感知能力是一种动态的、不断变化的过程，随着感知对象的速度与强度不同，身体会作出相应的反应，展现出其灵活而多样的能动性。