Embodied Imagination(具身想象)研究综述
Embodied Imagination 具身想象 - Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. [1] Rejecting any binary thinking that would have reading novels as an act of imagination while films are received through perception, this chapter examines how adaptations are experienced through the embodied imagination. [2] Embodied imagination is a learning theory that reverses the accepted Western “think first, then act” learning sequence though movement improvisation followed by reflection and reflective methods across verbal and nonverbal, including embodied-kinesthetic, modalities. [3] By exploring Castoriadis’ theoretical and practical reflections on the vis formandi of the being of human and the role he accords the two dimensions of the radical imagination, this article offers a new mode of thinking about the being of human as creation ex nihilo – one that addresses the mind body divide by proposing that the human Nonconscious can be envisaged as the dominion of the embodied imagination. [4] In the context of the COVID-19 pandemic, this paper explores the argument that human action cannot be understood apart from embodied imaginations of what is good and of what it means to be living a good life. [5] Returning to the MER operators’ experience enables the articulation of dimensions of telepresence that go beyond sensory rich, real time interaction, such as the embodied imagination, linguistic projection and cultural narratives. [6] Qualitative evaluations suggest this process successfully stimulates participant's embodied imagination and generates a diverse range of fantasies. [7] Safe analytic space might be called emotional dwelling, transitional space, the analytic third, secure attachment, embodied imagination, or in Bachelard’s words, felicitous space-- all of which is sometimes closer to a dream than to waking reality. [8]本书在各章中将现象学的哲学和研究方法与适应研究联系起来，研究视觉、听觉、触觉以及具体想象和记忆的结构如何增厚并使有形的适应源成为现实。 [1] 拒绝任何将阅读小说作为一种行为的二元思维 想像，而电影是通过感知接收的，本章 考察了如何通过具身的想象力来体验适应。 [2] 具身想象力是一种学习理论，它通过运动即兴表演，然后是语言和非语言的反思和反思方法（包括具身动觉，模态），颠倒了公认的西方“先思考，然后行动”的学习顺序。 [3] 通过探讨卡斯托里亚迪斯对人类存在的视觉形式的理论和实践反思以及他赋予激进想象的两个维度的作用，本文提供了一种将人类存在视为从无到有的创造的新模式——一种通过提出人类无意识可以被设想为具身想象力的统治，解决了身心分裂问题。 [4] 在 COVID-19 大流行的背景下，本文探讨了这样一种论点，即人类的行为离不开对什么是好的以及过上美好生活意味着什么的具体想象。 [5] 回到 MER 操作员的经验，可以阐明超越感官丰富的实时交互的远程呈现维度，例如具身想象力、语言投射和文化叙事。 [6] 定性评估表明，这一过程成功地激发了参与者的具体想象力，并产生了各种各样的幻想。 [7] 安全的分析空间可能被称为情感的栖居、过渡空间、分析的第三空间、安全的依恋、具身的想象，或者用巴什拉德的话来说，是幸福的空间——所有这些有时都更接近于梦境而不是清醒的现实。 [8]