易学思想与中国传统建筑

本文从卦象、易数与阴阳合德三方面论述了易学思想与中国传统建筑之间不可分割的联系,中国建筑作为中华文明的重要组成部分,其本源是来自<周易>,与易学思想的发展变化密切相关.     

5～16岁儿童对中国人形象的评价与喜好研究

采用个别访谈和问卷法,调查531名5—16岁中国儿童心目中的“中国人”形象以及儿童对中国人身份的喜欢程度和发展趋势。结果表明：(1)总体而言,被调查的5—16岁中国儿童对中国人持积极评价,对自己是一名中国人有积极的情感体验。(2)不同年龄的儿童对中国人形象的积极评价先上升后下降,随后有所回升,其中9—10岁儿童的评价最为积极。(3)儿童对中国人身份的喜欢程度随年龄的增长而下降。(4)对5—10岁的年幼儿童来说,对中国人的评价与喜欢成为中国人的关系不大,11—16岁的年长儿童则能更加紧密地联系两者。     

天水“卦台山”与伏羲易学文化——从人文地理学和民俗学视角的探讨

天水市三阳川的卦台山是伏羲“仰观俯察”观物取象(则之)和创造原始易学的历史缩影.由于后人的不断附会,卦台山被人格化,周围的山、水和村庄被赋予了生命,三阳川卦台山下的十二村庄和二十四个自然村也被喻为十二生肖和二十四节气,从而构成了一幅美妙的原始天象(文)图.《周易》作为中华民族的源头文化,在天水时空上的重合,表明《周易·系辞下》所说伏羲”仰观天文,俯察地理”而画八卦的描述以及史书记载的伏羲诞生于成纪(天水)并不是空穴来风,应该是历史因子、口传史和实物的契合.     

Predicting Election Outcomes from Positive and Negative Trait Assessments of Candidate Images

Conventional wisdom, and a growing body of behavioral research, suggests that the nonverbal image of a candidate influences voter decision making. We presented subjects with images of political candidates and asked them to make four trait judgments based solely on viewing the photographs. Subjects were asked which of the two faces exhibited more competence, attractiveness, deceitfulness, and threat, which are arguably four of the most salient attributes that can be conveyed by faces. When we compared our subjects' choices to the actual election outcomes, we found that the candidates chosen as more likely to physically threaten the subjects actually lost 65% of the real elections. As expected, our findings support the conclusions of Todorov, Mandisodza, Goren, and Hall (2005 ) by showing a positive correlation between the competence judgments and the real election outcomes. Surprisingly, attractiveness was correlated with losing elections, with the effect being driven by faces of candidates who looked politically incompetent yet personally attractive. Our findings have implications for future research on negative political communication, as they suggest that both threatening first impressions and fleeting impressions of attractiveness can harm a candidate's electoral chances.     

Investment in body image for self-definition results in greater vulnerability to the thin media than does investment in appearance management

This study investigated the effect of thin images according to two dimensions of body-image (BI) investment. Ninety-five females were classified as high or low investors based on the Appearance Schemas Inventory-Revised Self-Evaluative Salience (SES) and Motivational Salience (MS) subscales. Participants viewed advertisements portraying either the thin ideal or products. Results indicated that both women high in SES and MS reported lowered appearance self-esteem but greater BI importance following thin exposures. However, only the high SES group reported greater BI dissatisfaction and importance of current-ideal discrepancies after seeing thin images. Although highly invested women (regardless of their motivation for investment) are more responsive to thin media images than are women low in investment, those invested for self-definition are affected on more dimensions than are those invested for appearance management.     

从竹简看所谓数字卦问题

关于所谓数字卦的说法,从1978年张政烺先生提出后,逐渐成为一种公认的说法。然而从竹简发现来看,数字卦说法是错误的。组成这些所谓数字卦的符号,并不是数字。对竹简易卦符号的研究,应注意区别经文与实占,经文只用卦画,而实占则可能用到记四象的符号。     

释《周易·渐卦》

通过对渐卦卦象的分析,并考《说文》段注“陂陀曰渐”,得出渐卦取名为渐,当取坡渐之意,进而引伸为渐进之意。又从卦爻象出发,对渐卦的卦爻辞作出分析,认为渐卦的卦爻辞是根据其卦爻象而系出,而且其整卦的卦爻辞都是围绕着一个中心主题而展开,且其思想与《诗经》中的《鸿雁》等篇不无关系。这或可为进一步解读《周易》古经及其产生时代问题提供某种有益的启示。     

《易传》"立象以尽意"思想发微

“言”、“象”、“意”之间的关系问题,是易学研究中一个至关重要的问题。以老庄道家“言不尽意”论立论,《易传》作者不仅第一次明确提出了“言不尽意”的命题,而且首创“立象以尽意”之说,不仅实现了《周易》由卜筮之书到哲学之书的整体转换,而且完成了儒道言意思想的创造性整合,从而确立了其在中国思想文化史上至为重要的地位。至于“象”能否尽“意”,《易传》作者并没有说。没有说并不等于没有问题。而这个问题在其后的提出和讨论,则不仅直接引发了魏晋玄学的“言意之辨”,实现了两汉经学向魏晋玄学的转换和玄学本体论哲学的理论建构,而且通过玄学“言意之辨”,即按照“言不尽意”和“得意忘言”的理论和方法,不仅为佛教的中国化和宋明理学的综合创新开辟了广阔的道路,同时也为以“意象”为核心的中国审美文化的繁荣和发展奠定了坚实的思想理论基础,而这也正是《易传》“立象以尽意”思想的意义和价值所在。     

Intrusive images in PTSD and in traumatised and non-traumatised depressed patients: a cross-sectional clinical study

Although intrusive images are a hallmark of post-traumatic stress disorder (PTSD) and also occur in depression, little is known about the differences and similarities of such images in these conditions. Our study focuses on the qualities and triggers of intrusive images and responses to them in three groups--patients with PTSD, and depressed patients with and without trauma (n=65)-to highlight the diagnostic specificity of intrusive images for PTSD and depression. We distinguished intrusive images from verbal intrusive cognitions such as rumination and intrusive (brief) lexical thoughts. Consistent with the literature, the intrusive images of PTSD patients had a more "here-and-now quality" and were perceived more visually compared to those of both depressed groups. The groups showed a good deal of similarity concerning other image qualities. Most importantly, the intrusive images in PTSD and depressed patients with and without trauma were perceived as similarly distressing. Rumination and intrusive (brief) lexical thoughts were two of the five most named triggers of intrusive images. Limitations, such as the lack of a control group, and the clinical implications of these results are discussed, demonstrating the need to help non-PTSD patients with and without trauma to deal with intrusive images.     

Music in dreams and the emergence of the self

Abstract :  This paper deals with the presence and possible 'meaning' of music in dreams. The author explores a possible meaning of music as the most fundamental human symbolic experience, which directly points to the emergence of the Self from the primal union mystique with the Great Mother. The relationships between acoustic and visual experiences are taken into account as two basic human forms of coming into existence, although wholly different from each other. The role of music in dreams seems to be that of the most direct representation of the emerging Self in its pure, pre-representational form. Therefore, when music appears in dreams, providing there is the activation of an emotional tone, all other elements—visual and verbal—should be considered as the expression of the sense to which the music is pointing. A clinical example is described in order to better express the author's opinions.