多模态符号形式的认知根源与电影中的多模态分析

IF 1.5 Q2 COMMUNICATION
Wolfgang Wildgen
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引用次数: 0

摘要

康迪亚克(1754 年)的《感觉论》是现代感知与多模态交流关系讨论的哲学背景。该书以气味和颜色为重点,讨论了感知和交流之间的差异以及它们之间的转换。我们可以清楚地看到,即使在这一初级层面,不同模态之间复杂的相互作用也是实现有效而丰富的交流的先决条件。第二部分讨论卡西勒的 "符号形式哲学",将其作为多模态研究的相关框架。首先以音乐和视觉艺术为重点,对其基本方面进行了评论。语言的互动更为复杂和丰富;大型符号形式的难点主要在于语义构成,其次才是句法串联。首先必须合并/融合不同的语义空间。它必须允许从词汇层面、短语和句子层面到文本和话语层面的多层次整合。第三部分侧重于电影中的多模态。它涉及(电影)叙事中运动和动作的表现,运动和动作的视觉感知和表现/交流,以及音乐、动态影像和语言的融合。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The cognitive roots of multimodal symbolic forms with an analysis of multimodality in movies
Condillac’s (1754) “Traité des sensations” is the philosophical background of modern discussions on the relationship between perception and multimodal communication. The differences between perception and communication and the transitions between them are discussed with a focus on odor and color. It becomes clear that even at this primary level, the complex interactions of different modalities are the precondition for effective and rich communication. The second part discusses Cassirer’s “Philosophy of Symbolic Forms” as a relevant framework for multimodality studies. Basic aspects are first commented on with a focus on music and visual art. The interaction is even more complex and rich in the case of language; the difficulty of large symbolic forms is mainly due to semantic composition and only to a lesser degree to syntactic concatenation. The first must merge/blend different semantic spaces. It must allow for the plurality of levels of integration from the lexical level, the level of phrases and sentences, up to texts and discourse. The third part focuses on multimodality in film. It treats the representation of movement and action in (film) narratives, the visual perception and representation/communication of movement and action, and the integration of music, moving images, and language.
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来源期刊
CiteScore
3.30
自引率
8.30%
发文量
284
审稿时长
14 weeks
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