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当代神经美学研究
  • 书号:9787030567512
    作者:丁峻,崔宁
  • 外文书名:
  • 丛书名:国家哲学社会科学成果文库
  • 装帧:圆脊精装
    开本:B5
  • 页数:521
    字数:600000
    语种:zh-Hans
  • 出版社:科学出版社
    出版时间:2018-03-01
  • 所属分类:
  • 定价: ¥188.00元
    售价: ¥150.40元
  • 图书介质:
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  • 购买数量: 件  可供
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  神经美学从Zeki在20世纪末命名以来,不过10多年的时间,在西方也属新兴的前沿学科。
  本书从美学、心理学、神经科学等学科的交叉领域入手,对当代神经美学进行了较为全面的梳理,精细研判并客观评价了神经美学的思想范式、理论学说及核心事据,深入揭示了神经美学认识论的合理性与局限性,总结了其独特价值与应用启示。在全面了解西方神经美学的基础上,本书较为全面地提出了如何建构和发展中国神经美学的对策,即如何超越感性时空与经验维度,充实、扩展与完善神经美学的概念-范畴层次,建立具有中国思想特色的当代神经美学理论框架,探索完善神经美学的思想之道。
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目录

  • 目录
    前言
    第一章 导论 (1)
    第一节 当代神经美学的产生动因及背景 (2)
    第二节 美学-心理学-神经科学的多重交叉综合体 (7)
    一、强化客观性、心脑贯通性和学科交叉性视域 (8)
    二、基于多维标准分析本体审美价值 (12)
    三、人工美的审美价值创造性特征 (13)
    第三节 对当代神经美学研究的基本评价 (14)
    一、神经美学的突出优势 (15)
    二、神经美学的理论范式 (15)
    三、神经美学的学术贡献 (15)
    四、神经美学的发展趋势 (16)
    五、神经美学存在的问题及其根源所在 (16)
    六、神经美学的发展目标 (18)
    第四节 认知美学与神经美学的交叉融合体 (18)
    一、当代国外研究的学术进展 (19)
    二、认知神经美学的价值观 (24)
    三、认知神经美学的思想参照系 (26)
    四、西方认知神经美学的基本思路与方法论 (29)
    五、西方认知神经美学的思想模块 (30)
    六、审美认知-认知神经美学的文化观 (31)
    第五节 当代神经美学的发展对策及应用路径 (32)
    一、建设性思路 (32)
    二、当代神经美学的发展对策 (37)
    三、当代神经美学的思想启示及应用路径 (38)
    第二章 当代神经美学的认识论及理论研究 (41)
    第一节 二元主义的主客关系认识论 (43)
    一、审美主客体相互作用的中介观—内部客体 (43)
    二、心脑/心身关系及客体内化的具身认知观 (45)
    三、审美时空的中介体 (46)
    第二节 有关审美对象的客观认识论 (48)
    一、神经美学的审美对象观 (49)
    二、美的多因性来源及多样性呈现观 (49)
    三、审美对象的特殊形式—客体性自我观 (50)
    第三节 心脑反应还原论 (51)
    一、神经美学有关审美认知的大脑原理观 (52)
    二、审美创造的理性价值及其本体表征论 (58)
    三、多元客体分化论和审美意识整合论 (62)
    第四节 未来的建设性期冀 (65)
    一、建立神经美学实证研究的客观参照系及检验标准体系 (66)
    二、充实、深化和健全神经美学的概念-范畴系统 (68)
    三、调整、转换、优化和深化神经美学的思想认识论框架 (69)
    第三章 当代神经美学的方法论问题研究 (71)
    第一节 有关神经美学的技术方法论评价 (72)
    一、实证技术提升了美学研究的信效度 (72)
    二、实证研究的不足之处 (73)
    三、神经美学方法论:存在问题及其根源所在 (74)
    四、神经美学研究范式的发展趋势 (75)
    第二节 有关神经美学的思想方法论框架及范式评价 (75)
    一、神经美学方法论的主要进展 (76)
    二、神经美学方法论:存在的主要问题 (77)
    三、神经美学方法论:思想视域需要深化、细化和系统化 (78)
    第三节 神经美学的方法论范式、标准及信效度评价 (79)
    一、神经美学的方法论坐标与理论框架的偏向 (79)
    二、神经美学的方法论范式和检验标准的不足之处 (82)
    第四节 神经美学方法论的完善之道 (84)
    一、自下而上-自上而下的整体思路 (85)
    二、改造方法论的思想框架 (85)
    三、完善神经美学方法论的未来之道 (87)
    第四章 神经美学的审美范畴研究 (91)
    第一节 审美主体-审美间体-审美客体 (96)
    一、主客体融合的内在动因 (96)
    二、主客体统一的脑电表征 (98)
    三、审美主客体统一及其全新化合产物的神经对应物 (99)
    第二节 审美知觉-审美判断 (101)
    一、审美知觉-审美判断的主客体内容 (102)
    二、审美知觉-审美判断的神经表征 (103)
    三、审美知觉-审美判断的多层级回环范式 (105)
    四、审美知觉-审美判断的双重进路及内在参照系 (106)
    第三节 审美移情-审美具身 (112)
    一、审美移情-审美具身催生新的审美对象 (113)
    二、审美移情-审美具身的心脑机制及思想中介 (114)
    三、审美移情-审美具身的双重路径 (117)
    四、审美移情-审美具身的心脑模型 (118)
    五、审美移情-审美具身的认知加工与情感加工范式 (125)
    第四节 审美理念-审美意象-审美意识 (126)
    一、审美理念-审美意象-审美意识的发生学关系 (127)
    二、审美理念-审美意象-审美意识的价值内容 (128)
    三、审美表象与审美意象的异同之处 (130)
    四、审美理念-审美意象-审美意识的次级成分及其与工作记忆的关系 (134)
    五、审美意识形成和意识性体验的神经机制 (136)
    第五节 审美创造-审美体验-审美效致 (138)
    一、审美创造-审美体验-审美效致之认知路线得以成立的思想逻辑 (139)
    二、美作为审美创造之花、体验之象和体用之果 (140)
    三、审美创造-审美体验-审美效致的心脑原理 (141)
    第六节 心理表征-神经表征-身体表征-符号表征 (153)
    一、审美认知的心理表征-神经表征观 (153)
    二、审美认知的身体表征-符号表征观 (155)
    三、审美表征的认知参照系 (157)
    第七节 主体性自我-客体性自我 (159)
    一、主体性自我-客体性自我的发生学关系及其认知功能 (159)
    二、主体性自我-客体性自我的相互作用原理 (161)
    三、主体性自我-客体性自我的神经对应物 (164)
    四、主体性自我-客体性自我的思想价值和实践意义 (165)
    第八节 意象-概象-体象-表象-物象 (168)
    一、审美意象-审美概象-审美体象-审美表象的神经对应物 (169)
    二、审美意象-审美概象-审美体象-审美表象的相互转化机制 (171)
    三、艺术意象-艺术概象-艺术体象-艺术表象的神经发生学与转化观 (175)
    四、意象-概象-体象-表象相互作用的神经模型 (178)
    第九节 审美的感性-知性-理性-体性观 (180)
    一、审美的感性-知性-理性-体性之价值内容 (180)
    二、审美的感性-知性-理性-体性之心脑发生学考察 (182)
    三、审美的感性-知性-理性-体性之完形统一效应 (183)
    第十节 审美的现实意识-理想意识-格式塔意识 (184)
    一、审美主客体的现实意识-理想意识-格式塔意识观 (185)
    二、现实意识-理想意识-格式塔意识的心脑发生学考察 (186)
    三、格式塔意识的主客体内容及大脑表征 (189)
    四、审美的自我意识-对象意识-统合意识的基本模型 (192)
    五、裂脑人的意识所蕴含的思想启示 (197)
    六、“最佳猜测”、最佳体验及其脑电表征 (200)
    七、自我的多重形态及其完善之道 (202)
    第五章 当代西方的神经美学实证研究 (209)
    第一节 艺术与审美的神经现象学研究 (210)
    一、神经现象学对神经美学的认识论贡献 (210)
    二、审美认知活动的神经对应物研究 (210)
    三、神经现象学研究的局限性 (212)
    第二节 艺术与审美的神经科学实证研究 (212)
    一、视觉艺术的神经美学原理 (213)
    二、音乐审美的认知神经机制 (219)
    第三节 审美情感和生活审美经验研究 (245)
    一、审美情感的神经发生学考察 (246)
    二、日常生活审美的情感化变机制 (248)
    三、审美情感区别于世俗情感的心脑特征观 (249)
    第四节 有关审美实证的理论研究 (252)
    一、神经美学实证研究的主题评价 (253)
    二、神经美学实证研究的方法论及认知标度思考 (255)
    三、神经美学实证研究的高阶解释理论观 (257)
    四、神经美学实证研究需要锚定的核心概念 (260)
    第五节 舞蹈艺术及运动审美观 (262)
    一、舞蹈审美的情感反应及其神经表征 (263)
    二、极限运动的审美价值及心脑机制 (264)
    三、快感及奖赏的身体之源和神经化学之功 (269)
    四、从身体形象审美到视觉符号审美的心脑机制 (270)
    第六章 当代神经美学的审美认知理论研究 (274)
    第一节 审美认知的具身机制 (274)
    一、审美认知的具身化范式及思想原理 (275)
    二、具身认知的日常生活审美化诠释 (282)
    第二节 镜像神经元系统与审美移情 (298)
    一、审美移情的神经装置 (298)
    二、审美移情与高频低幅同步振荡波 (300)
    三、镜像神经元系统与镜像自我观 (302)
    第三节 审美意象映射与主客体律动范式 (304)
    一、审美的客体意象、情感意象、身体意象及大脑定位 (304)
    二、身体意象—心脑相互作用的感性中介体 (316)
    三、审美认知的主体“自我参照系”及其神经基础 (319)
    四、审美期待、审美奖赏及大脑神经网络 (322)
    第四节 审美价值的创生原理与心脑机制 (326)
    一、审美价值的内在创生原理 (326)
    二、审美认知的心脑机制 (328)
    三、本体审美意识生成的知性图式 (338)
    四、本体审美意识生成的理性模式 (339)
    五、主事审美认知的高阶脑区及功能 (340)
    第五节 审美与自我认知的心脑共轭系统 (353)
    一、自我审美的镜像参照系 (353)
    二、审美与自我认知的对象化自我 (354)
    三、客体审美意识与自我审美意识所蕴含的自我情感意象 (356)
    四、将对象性运动规则转化为本体操作性程序 (358)
    第六节 审美认知的思维原理及其心脑机制 (359)
    一、审美镜像时空的认知中介 (359)
    二、审美价值映射的三位一体系统 (360)
    三、映射完满自我与完满对象融合形态的审美镜像 (361)
    四、“本体审美工作记忆系统”的认知结构 (361)
    第七节 审美活动的大脑效应表征体 (367)
    一、审美经验对感觉皮层微观结构的重塑效应 (368)
    二、审美活动对主体脑电节律的调谐作用 (368)
    三、审美移情的神经机制 (369)
    四、审美共鸣与美感发生的神经机制 (370)
    第八节 审美认知的身体行为表征机制 (372)
    一、身体意象的审美创生境遇 (372)
    二、审美主客体之意识体验及其神经回路 (374)
    三、审美表达行为的认知管理 (375)
    四、身体意象与技术意象的耦合之道 (376)
    第九节 审美认知的主客体工作记忆系统 (379)
    一、客体工作记忆系统 (380)
    二、本体工作记忆系统及自我参照系 (382)
    第十节 审美工作记忆的三元世界观 (384)
    一、审美工作记忆的重要功能 (384)
    二、审美工作记忆的操持方式 (387)
    三、审美工作记忆的神经对应物 (389)
    第七章 审美主体-审美客体-审美间体建构观 (391)
    第一节 新型审美对象得以形成的间体原理 (392)
    一、审美创造的思维中介观 (392)
    二、音乐审美时空的主客体合一形态 (397)
    三、审美价值的创生和体验之道 (399)
    第二节 审美价值的心理表征观 (402)
    一、主客合一的音乐空间及其意象表征观 (402)
    二、表征审美主客体的价值共同体和命运共同体 (403)
    第三节 审美间体(价值)得以涌现的神经对应物 (414)
    一、大脑的情感综合体 (415)
    二、主客体相互作用的大脑具身转化器 (418)
    三、大脑默认系统 (424)
    第八章 美学高阶理论模型研究 (429)
    第一节 审美主客体互动的深层机制观 (430)
    一、顶级审美间体得以涌现的心脑机制 (430)
    二、内在表征体相互作用的思想中介体 (436)
    三、八大审美表征体相互作用的神经机制 (439)
    第二节 审美间体的理念-意象形态及认知原理 (441)
    一、知性美感与理性美感 (441)
    二、格式塔美的审美认知原理 (442)
    第三节 大脑亚区功能的四环模型 (444)
    一、神经回路之一:眶额皮层中央区—眶额皮层左侧边缘区 (445)
    二、神经回路之二:眶额皮层中央区—眶额皮层右侧边缘区 (445)
    三、神经回路之三:眶额皮层中央区—前额叶正中区 (445)
    四、神经回路之四:眶额皮层中央区—前额叶前部 (446)
    第四节 双向移情-双元完善-双重具身的原理 (446)
    第五节 审美体验的心脑高阶模型 (449)
    第六节 美及美感得以形成的心脑原理 (453)
    一、表征审美创造的心脑结构与功能 (453)
    二、美感得以涌现的多个环节及其心脑表征形态 (455)
    第九章 结语:中国特色的当代美学建构观 (460)
    第一节 认识论创新—三元一体的新范式 (460)
    一、更新思想坐标 (460)
    二、建构科学问题 (464)
    三、打造科学-人文一体化的研究范式 (466)
    第二节 确立标识性概念,完善核心范畴框架 (468)
    一、确立标识性概念 (468)
    二、完善核心范畴框架 (471)
    第三节 方法论优化与事据谱系完善 (479)
    一、锻造主客体兼容的思想方法论 (480)
    二、建构具有更高信效度的复合性事据系统 (480)
    第四节 建构中国特色的当代美学理论体系 (485)
    一、桥梁原理:审美中介化合论 (485)
    二、三大支柱理论 (489)
    三、中国特色的当代美学理论模型 (496)
    参考文献 (503)
    索引 (505)
    后记 (517)
    Contents
    Preface
    Chapter 1 Introduction (1)
    1.1 The Origin and Background of Contemporary Neuroaesthetics (2)
    1.2 Neuroaesthetics: Multiple Intersection of Aesthetics,Psychology and Neuroscience (7)
    1.2.1 Strengthening the Objectivity, Connection of the Mind with Brain and Interdisciplinary Insight (8)
    1.2.2 Analyzing Ontological Value by Applying Multi-devision
    Criteria (12)
    1.2.3 The Creative Features of Aesthetic Value of Artificial Beautified Works (13)
    1.3 The Basic Evaluation of the Contemporary Research on Neuroaesthetics (14)
    1.3.1 The Advantages of Neuroaesthetics (15)
    1.3.2 The Theoretical Modes of Neuroaesthetics (15)
    1.3.3 The Academic Contributions of Neuroaesthetics (15)
    1.3.4 The Developing Tendency of Neuroaesthetics (16)
    1.3.5 The Problems and Their Causes of Researches on Neuroaesthetics (16)
    1.3.6 The Constructed Targets of Neuroaesthetics in the Future (18)
    1.4 Cognitive Neuroaesthetics:Super Fusion of Neuroaesthetics with Cognitive Aesthetics (18)
    1.4.1 The Progress of Worldwide Studies in Neuroaesthetics (19)
    1.4.2 The Outlook of Cognitive-Neuroaesthetical Value (24)
    1.4.3 The Ideological Frames of Reference of Cognitive Neuroaesthetics (26)
    1.4.4 The Basic Thoughts and Main Methodology of Cognitive Neuroaesthetics in Western Countries (29)
    1.4.5 The Thought Module of Cognitive Neuroaesthetics in Western Countries (30)
    1.4.6 Aesthetic Cognition and Meta-Cognition: The Outlook of Cultural Mentality (31)
    1.5 The Development and Application of Contemporary Neuroaesthetics (32)
    1.5.1 The Constructive Frames of Ideological Works (32)
    1.5.2 The Counterplan to Develop Neuroaesthetics in Future (37)
    1.5.3 The Ideological Enlightenment and Applying Route of Contemporary Neuroaesthetics (38)
    Chapter 2 The Epistemology and Theoretical Exploration of Contemporary Neuroaesthetics (41)
    2.1 The Theory of Subject-Object Relationship Underlied the Dualism (43)
    2.1.1 The Inner Object/Secondary Object: A Key Medium for the Interaction between Aesthetic Subject and Object (43)
    2.1.2 The Embodied Cognition of the Mind-Brain and Mind-Body Relations and Internalized Object (45)
    2.1.3 The Inner Medium in Aesthetic Space-time (46)
    2.2 Epistemology of Aesthetic Object Based on the Artistic Beauty and the Beauty of Life (48)
    2.2.1 The Outlook of Aesthetic Objects in Neuroaesthetics (49)
    2.2.2 The Multiple Origins and Multiple Forms for Beauty to Take Place (49)
    2.2.3 Objective Self: The Second Order of Aesthetic Object (50)
    2.3 Reductionism of Mind-Brain Response to Aesthetic Object Based on the Theory of Embodied Cognition (51)
    2.3.1 The Brain Principle of Aesthetic Cognition on Neuroaesthetics (52)
    2.3.2 The Rational Value and Subjective Representation of People’s Aesthetic Creation (58)
    2.3.3 Differentiation of Multiple Objects and Conscious Integration (62)
    2.4 The Constructive Prospect on Both Epistemology and Theory of Neuroaesthetics (65)
    2.4.1 The Objective Reference and Testing Criteria of Future Neuroaesthetics (66)
    2.4.2 To Enrich, Deepen and Perfect the Concept-Category System of Neuroaesthetics (68)
    2.4.3 To Adjust, Transform, Optimize and Deepen the Ideological Frames of Neuroaesthetics (69)
    Chapter 3 Reviews of the Methodology of Neuroaesthetics (71)
    3.1 Evaluation of the Technological Methodology of Neuroaesthetics (72)
    3.1.1 The Advanced Experimental Techniques That Enhanced the Reliability and Validity of Aesthetic Researches (72)
    3.1.2 The Deficiencies of Neuroaesthetics on Experimental Studies (73)
    3.1.3 The Methodological Problems and Root Causes of Neuroaesthetics (74)
    3.1.4 The Developing Tendency of Neuroaesthetics (75)
    3.2 Evaluation of the Experimental Hypothesis and Research Paradigm of Neuroaesthetics (75)
    3.2.1 Main Progress of Neuroaesthetics on Methodology (76)
    3.2.2 The Key Problems of Neuroaesthetics on Methodology (77)
    3.2.3 The Thinking Field That Need to be Deepen, Detailed and Systematized of Neuroaesthetics on Methodology (78)
    3.3 The Methodological Paradigm, the Standard and the Deficiency of the Reliability and Validity of the Demonstrative Research on Neuroaesthetics (79)
    3.3.1 The Deviation of Neuroaesthetics on Methodological Coordinates and Theoretical Frameworks (79)
    3.3.2 The Deficiencies of Testing Criteria and Interpreting Paradigm of Neuroaesthetics on Methodology (82)
    3.4 The Way to Perfect the Theories of Neuroaesthetics (84)
    3.4.1 A Overall Thinking of Bottom-up with Top-down Route (85)
    3.4.2 To Reform the Ideological Framework of Methodology (85)
    3.4.3 The Unique Way to Perfect the Methodology of Neuroaesthetics (87)
    Chapter 4 Studies on the Aesthetic Categories of Neuroaesthetics (91)
    4.1 Aesthetic Subject-Aesthetic Object-Aesthetic Intermedia (96)
    4.1.1 The Internal Agents for Subject-Object to Get Coherency (96)
    4.1.2 The Electroencephalogram Character of Subject-Object Unification (98)
    4.1.3 The Neural Correlates of Aesthetic Subject-Object Unification and Gestalt Emergency (99)
    4.2 Aesthetic Perception and Aesthetic Judgment (101)
    4.2.1 The Subjective and Objective Contents of Aesthetic Perception and Aesthetic Judgement (102)
    4.2.2 The Neural Correlates of Aesthetic Perception and Aesthetic Judgement (103)
    4.2.3 The Multiple Feedback Circuits of Aesthetic Perception and Aesthetic Judgement (105)
    4.2.4 The Bottom-up and Top-down Routes and Their Inner Reference of Aesthetic Perception and Aesthetic Judgement (106)
    4.3 Aesthetic Empathization and Aesthetic Embodiment (112)
    4.3.1 Aesthetic Empathization-Embodiment Generating New Aesthetic Object (113)
    4.3.2 The Mind-Brain Mechanisms and Ideological Medium of Aesthetic Empathization-Embodiment (114)
    4.3.3 The Bottom-up and Top-down Routes of Aesthetic Empathization-Embodiment (117)
    4.3.4 The Working Models of the Mentality and Brain in Aesthetic Empathization-Embodiment (118)
    4.3.5 The Models of Emotional and Cognitive Processing in Aesthetic Empathization-Embodiment (125)
    4.4 Aesthetic Idea,Aesthetic Mental Imagery and Aesthetic Consciousness (126)
    4.4.1 The Genetic Relations among Aesthetic Idea, Mental Imagery and Consciousness (127)
    4.4.2 The Value Contents of Aesthetic Idea, Mental Imagery and Consciousness (128)
    4.4.3 The Similarities and Differences between Empirically Aesthetic Image and Rationally Aesthetic Mental Imagery (130)
    4.4.4 The Sub-Components and Corresponding Working Memory Patterns of Aesthetic Idea, Mental Imagery and Consciousness (134)
    4.4.5 The Neural Mechanisms for Both Aesthetic Consciousness to Form and for Conscious Experience To Take Place (136)
    4.5 Aesthetic Creation, Aesthetic Experience and Aesthetic Effect (138)
    4.5.1 The Thinking Logic of Cognitive Route for Subject to Take Aesthetic Creation, Experience and Utilization (139)
    4.5.2 Beauty Being the Created Flower, Experienced Object and Utilized Fruit (140)
    4.5.3 The mind-Brain Principles of Aesthetic Creation, Experience and Utilization (141)
    4.6 The Psychological, Cognitive, Neural, Physical and Symbolic Representation of Aesthetic Value (153)
    4.6.1 The Psychological and Neurophysiological Representations of Aesthetic Cognition-Metacognition (153)
    4.6.2 The Physical and Symbolic Representations of Aesthetic Cognition-Metacognition (155)
    4.6.3 The Cognitive Reference of Aesthetic Representation (157)
    4.7 Subjective Self and Objective Self (159)
    4.7.1 The Genetic Relations and Cognitive Effectiveness between Subjective Self and Objective Self (159)
    4.7.2 The Multiple Mechanisms of Interaction among Subjective Self, Objective Self and Exterior Object (161)
    4.7.3 The Neural Correlates of Both Subjective Self and Objective Self (164)
    4.7.4 The Thinking Value and Practical Benefit of Both Subjective Self and Objective Self (165)
    4.8 Mental Imagery of Art, Conceptual Imagery of Art, Physical Image of Art, Sensory Image of Art and Substantial Image of Art (168)
    4.8.1 The Neural Correlates of Aesthetic Mental Imagery, Conceptual Image, Physical Image and Empirical Image (169)
    4.8.2 The Mechanisms of Mutual Conversion among Aesthetic Mental Imagery, Conceptual Image, Physical Image and Empirical Image (171)
    4.8.3 The Neural Genetics and Transformed Patterns of Mental Imagery of Art, Conceptual Image of Art, Physical Image of Art and Feeling Image (175)
    4.8.4 The Neural Model of Interactions among Mental Imagery, Conceptual Image, Physical Image and Feeling Image (178)
    4.9 Aesthetic Sensibility-Aesthetic Perceptionability-Aesthetic Rational Ability-Aesthetic Nature of Body-Aesthetic Property of Substance (180)
    4.9.1 The Valuable Contents of Aesthetic Sensibility,Perception, Rationality and Somato-Disposition (180)
    4.9.2 The Mind-Brain Genetics of Aesthetic Sensibility,Perception, Rationality and Somato-Disposition (182)
    4.9.3 The Effect of Gestalt Unification of Aesthetic Sensibility,Perception, Rationality and Somato-Disposition (183)
    4.10 The Realistic Consciousness, Ideal Consciousness and Gestalt Consciousness of Aesthetic Subject (184)
    4.10.1 The Realistic Consciousness, Ideal Consciousness and Gestalt Consciousness of Aesthetic Subject and Object (185)
    4.10.2 The Mind-Brain Genetics of Subject’s Realistic Consciousness, Ideal Consciousness and Gestalt Consciousness (186)
    4.10.3 The Subjective and Objective Contents and Their Neural Representation of Gestalt Consciousness (189)
    4.10.4 The Basic Patterns of Aesthetic Self-Consciousness,Objective Consciousness and Unified Consciousness (192)
    4.10.5 The Phenomenal Enlightenment of Consciousness Owned by Brain-Split People on Cognitive Neuroaesthetics (197)
    4.10.6 The Character of Electroencephalogram of Subject’s Best Speculation and Peak Experience (200)
    4.10.7 The Multiple Forms and Perfecting Ways of People’s Self (202)
    Chapter 5 Studies on the Experimental Researches of Neuroaesthetics in the Contemporary Western Countries (209)
    5.1 On the Phenomenological Achievement of Art Cognition and Aesthetics (210)
    5.1.1 Neuro-phenomenological Contributions on the Epistemology of Neuroaesthetics (210)
    5.1.2 Studies of the Neural Correlates of People’s Aesthetic Cognition-and-Meta Cognition (210)
    5.1.3 The Boundedness of Researching Works on Neuro-Phenomenology (212)
    5.2 On the Empirical Study of Art Activities and Aesthetic Behavior (212)
    5.2.1 The Neuroaesthetic Principles of Visual Arts (213)
    5.2.2 The Cognitive and Neural Mechanisms of Aesthetic Activities in Music (219)
    5.3 Studies of Neuroaesthetics on Aesthetic Emotion and the Aestheticization of Daily Life (245)
    5.3.1 The Neural Genetics of Aesthetic Pleasure (246)
    5.3.2 The Mechanisms of Emotional Transmutation in Aesthetics of Daily Life (248)
    5.3.3 The Character of Mentality and Brain in Aesthetic Emotional Experience That Being Different from Non-aesthetic Emotional Experience (249)
    5.4 The Theoretical Study of Aesthetic Positivism: the Higher-Order Theory, Psychological Representation and Neural Mechanism of Artistic and Aesthetic Cognition (252)
    5.4.1 Evaluation on the Topics of Empirical Study of Neuroaesthetics (253)
    5.4.2 The Methodology and Cognitive Routes of Empirical Study on Neuroaesthetics (255)
    5.4.3 The High-Order Interpreting Theories of Empirical Study on Neuroaesthetics (257)
    5.4.4 Key Concepts of the Empirical Study on Neuroaesthetics to Grapple (260)
    5.5 Aesthetic and Cognitive Theories of Neuroaesthetics on Dance and Body Movement (262)
    5.5.1 The Emotional Responses and Neural Representation of Aesthetic Activity in Dance (263)
    5.5.2 The Aesthetic Value and Mind-Brain Mechanisms of Extreme Sports (264)
    5.5.3 The Physical Cause and Neurochemical Mechanism of Aesthetic Reward and Pleasure (269)
    5.5.4 The Mind-Brain Mechanisms of Aesthetic Transition:from Body Image to Visual Symbol Forms (270)
    Chapter 6 On Aesthetic and Cognitive Theories of Contemporary Neuroaesthetics (274)
    6.1 The Embodied Mechanism of Aesthetic Cognition (274)
    6.1.1 The Embodied Model and Thinking Principles of Aesthetic Cognition-Metacognition (275)
    6.1.2 Annotation of Embodied Cognition on Aesthetics in Daily Life (282)
    6.2 The Mirror Neuron System and Aesthetic Empathization (298)
    6.2.1 The Neural Correlates of Aesthetic Empathization (298)
    6.2.2 Aesthetic Empathization and the Synchronously Oscillated Brain Wave with High-Frequency and Low Amplitude (300)
    6.2.3 Mirror Neuron System and the Objective Self in Mirror Reflection (302)
    6.3 The Mapping Theory of Aesthetic Image and the Subjective and Objective Coherent Rhythm (304)
    6.3.1 Aesthetic Representation and Neural Location: Objective Mental Imagery, Emotional Mental Imagery and Physical Mental Imagery (304)
    6.3.2 Physical Mental Imagery: The Sensory Intermedium of Interaction between the Mind and Brain (316)
    6.3.3 Subject’s Self Reference and Its Neural Correlates in People’s Aesthetic Cognition-Metacognition (319)
    6.3.4 Aesthetic Expectation, Rewards and Related Neural Networks in the Brain (322)
    6.4 Principle of the Internal Creation on Aesthetic Value and the Mind-Brain Mechanism of Aesthetic Cognition (326)
    6.4.1 The Principles of Aesthetic Value to Form Internally and Creatively (326)
    6.4.2 The Mind-Brain Mechanisms of Aesthetic Cognition and Metacognition (328)
    6.4.3 The Perceptual Model of Aesthetic Self-Consciousness to Take Place (338)
    6.4.4 The Rational Model of Aesthetic Self-Consciousness to Take Place (339)
    6.4.5 The High-Order Regions of the Brain and Their Functions on Aesthetic Cognition (340)
    6.5 The Adjoint Mind-Brain System for People to Take Aesthetic Cognition toward Object and Subject Oneself (353)
    6.5.1 The Mirror-Image Reference of People’s Aesthetic Activity on Self (353)
    6.5.2 Effect of Objective Self on People’s External Cognition and Self-Cognition Aesthetically (354)
    6.5.3 The Mental Imagery of Self Emotion in Both Aesthetic Consciousness of Object and Subject’s Self (356)
    6.5.4 The Motion Roles of Object to be Converted into Subject’s Operational Procedure (358)
    6.6 The Thinking Principle of Aesthetic Cognition and the Related Mechanism of Mind-Brain Activities (359)
    6.6.1 The Cognitive Intermedium in Aesthetic Space-Time of Mirror (359)
    6.6.2 The Trinity System for Aesthetic Value to be Formed and Experienced (360)
    6.6.3 The Aesthetic Mirror to Map the Fused Forms of Perfect Self with Perfect Object (361)
    6.6.4 The Cognitive Structure of the Sub-System of Aesthetic Working Memory on Subject’s Self (361)
    6.7 The Representation of Effect of Aesthetic Activities on the Brain (367)
    6.7.1 The Reshaping Effect of Aesthetic Experience on the Micro-Structure of Sensory Cortex (368)
    6.7.2 The Retuning Effect of Aesthetic Activity on Subject’s Rhythms of Electroencephalogram (368)
    6.7.3 The Neural Mechanisms of Aesthetic Empathization (369)
    6.7.4 The Neural Mechanisms of Both Aesthetic Resonance and Sense of Beauty to Take Place (370)
    6.8 The Mechanism of Representation of Aesthetic Cognition on Body Behavior (372)
    6.8.1 The Aesthetically Creative Circumstance of the Mental Imagery of Body (372)
    6.8.2 The Subjective-and-Objective Conscious-Experiences and Their Neural Networks (374)
    6.8.3 The Cognitive Administration of Aesthetic Expression (375)
    6.8.4 The Coupling of Both Mental Imagery of Body with Workmanship (376)
    6.9 The Subjective and Objective Working Memory System of Aesthetic Cognition (379)
    6.9.1 The Objective Working Memory System (380)
    6.9.2 The Subject’s Self Working Memory System and Self-Reference (382)
    6.10 The Ternary Outlook of Aesthetic Working Memory: Object-Subject Oneself-Intermedium (384)
    6.10.1 The Important Functions of Aesthetic Working Memory (384)
    6.10.2 The Operation Patterns of Aesthetic Working Memory (387)
    6.10.3 The Neural Correlates of Aesthetic Working Memory (389)
    Chapter 7 The Creative Construction of Aesthetic Value among Aesthetic Subject, Object and Intermedium (391)
    7.1 The Principle of Aesthetic Object and Aesthetic Value to be Emerged (392)
    7.1.1 The Intermedium of Thinking in Aesthetic Creation (392)
    7.1.2 The Unified Forms of Subject with Object in the Aesthetic Activity on Music (397)
    7.1.3 The Law for Aesthetic Value to be Created and Experienced (399)
    7.2 The Psychological Representation of Aesthetic and Cognitive Value (402)
    7.2.1 The Musical World and Mental-Imagery Representation of the Coherent Subject with Object (402)
    7.2.2 The Value Community and Fortune Community to Represent the Mutual Achievement of Aesthetic Subject and Object (403)
    7.3 The Neural Correlates of Internal Object and Its Aesthetic Value to Emerge and to be Tasted (414)
    7.3.1 The Emotional Synthesis in the Brain (415)
    7.3.2 The Embodied Convertor of Interaction between Subject and Object in the Brain (418)
    7.3.3 The Default Made Network of the Brain (424)
    Chapter 8 The Models of Higher-Order Theories of Neuroaesthetics and Aesthetics—Based on Interdisciplinary Re-Construction of Relevant Concept-Category and Theories (429)
    8.1 The Deep Mechanism of the Interaction between Aesthetic Subject and Object via Aesthetic Intermedia (430)
    8.1.1 The Mind-Brain Mechanisms for the Top Aesthetic Intermedium to Emerge (430)
    8.1.2 The Thinking Intermedium of the Interaction among the Inner Eight-Agents (436)
    8.1.3 The Neural Mechanisms of Interaction among the Inner Eight-Agents (439)
    8.2 The Ideamotor and Mapping of Mental Imagery of Gestalt Intermedium being the Top Form of Internal Object and Related Principles of Aesthetic Cognition (441)
    8.2.1 The Perceptual Sense of Beauty and Rational Sense of Beauty (441)
    8.2.2 The Principles of Beauty in Gestalt Forms to Get Aesthetic Cognition and Meta-Cognition (442)
    8.3 The Tetracyclic Model of the Subregional Functions of Brain (444)
    8.3.1 Part One of the Four Neural Circuits: The Central Part of Orbitofrontal Cortex-the Left Marginal Part of Orbitofrontal Cortex (445)
    8.3.2 Part Two of the Four Neural Circuits: The Central Part of Orbitofrontal Cortex-the Right Marginal Part of Orbitofrontal Cortex (445)
    8.3.3 Part Three of the Four Neural Circuits: The Central Part of Orbitofrontal Cortex-the Medial Prefrontal Cortex (445)
    8.3.4 Part Four of the Four Neural Circuits: The Central Part of Orbitofrontal Cortex-the Forepart of Prefrontal Cortex (446)
    8.4 Schematism of the Structure and Functions of the Brain: the Bidirectional Empathization-Dual Perfection-Binary Embodiment (446)
    8.5 The High-Order Model of the Mind-Brain during Aesthetic Experience (449)
    8.6 The Mind-Brain Principles for the Gestalt Beauty and Sense of Beauty to Emerge from Aesthetic Creation (453)
    8.6.1 The Structure and Functions of Mind-Brain That Represent the Matrix of Aesthetic Creation (453)
    8.6.2 The Multiple Links and Forms of the Senses of Beauty to Take Place and Get Representation in the Mind and Brain (455)
    Chapter 9 Prospect:The Systematic Construction of Contemporary Neurouesthetics and Aesthetics with Chinese Characteristics (460)
    9.1 The Epistemological innovation—New Paradigm of “Three in One” (Aesthetic Subject-Aesthetic Intermedium-Aesthetic Object) (460)
    9.1.1 To Renew the Ideological Coordinates (460)
    9.1.2 To Reconstruct Scientific Problems (464)
    9.1.3 To Form the Integrated Model of Researches with Style of Scientific Methodology being Cohered with Methodology of Humanities (466)
    9.2 Establishing Symbolic Concepts and Enriching the Core Category Framework (468)
    9.2.1 To Set up the Significant Concepts (468)
    9.2.2 To Enrich the Framework of Key Categories (471)
    9.3 Methodological Optimization and Genealogy of Proofs (479)
    9.3.1 To Smith the Ideological Methodology That Completely Compatible Subject and Object (480)
    9.3.2 To Construct the Multiple Evidence System with Higher Reliability and Validity (480)
    9.4 Constructing the Contemporary Aesthetic Theory System with Chinese Characteristics (485)
    9.4.1 The Bridging Principle: Aesthetic Intermedium to Induce a Series of Completed Reactions and Interactions (485)
    9.4.2 The Three Pillar Theories (489)
    9.4.3 The Theoretical Models of Contemporary Aesthetics with Chinese Characteristics (496)
    References (503)
    Index (505)
    Afterword (517)
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