迪士尼-皮克斯的例子

IF 0.2 Q4 COMMUNICATION
F. Leone
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引用次数: 0

摘要

集体想象中的恐惧感:迪士尼皮克斯的例子。当代的科学辩论,特别是从上个世纪的最后十年开始,经常是关于认知科学的猖獗殖民。众所周知,与这一科学领域相关的学科倾向于从分析大脑中发生的过程开始解释人类行为。由于大脑研究的新技术(如功能磁共振成像),有可能建立一个物质基础,使其适合经验实验,对意识,感觉和情感等主题的科学研究,传统上与纯粹的形而上学研究有关。在基本情绪或主要情绪之间,有一种恐惧。近年来,关于这一主题的科学文章发表了大量——考虑到这种巨大的范式变化正在发生,这很容易理解——将思想导向认知类型的不同视角。这项工作的目的是理解在当代科学辩论中,恐惧情绪是如何被定义和讲述的,特别关注社会学方法。更具体地说,这项工作旨在分析以何种方式将社会学故事置于更大的文化运动中,其中滋养当代想象的神话参考正在发生深刻变化。此外,一旦强调了来自认知科学的一些建议的优势和局限性,我们提出了一种阅读-因此是一种额外的可能的故事讲述替代方案-恐惧的感觉开放和放大结束,以及一种更清晰的跨学科方法。在提案所倾向的目标之间,我们最终会尝试在不同的认知科学和文化与交际过程的社会学之间激发更强烈的开放。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Il sentimento della paura nell’immaginario collettivo: il caso Disney-Pixar = The feeling of fear in the collective imaginary: The Disney Pixar example
The feeling of fear in the collective imaginary: The Disney Pixar example. The contemporary scientific debate, in particular starting from the last decade of the last century, has been, often, about a rampant colonization of cognitive sciences. It’s known that the disciplines linked to this scientific field tend to explain the human behavior starting from the analysis of the process that happens in the brain. Thanks to the new techniques of brain studies (like fMRI) it’s possible to establish a material base, which lends itself to the empiric experimentation, to scientific studies of topics like awareness, feelings and emotions, traditionally associated to the purely metaphysical research. Between the basic emotions, or primary emotions, there is fear. In recent years there’s been huge publishing productions of scientific articles on this topic -And it’s easy to understand considering this big paradigmatic change happening- orienting the thoughts towards a different perspective of cognitive type. The object of this work is to comprehend in which terms the emotion of fear is been defined and told in the scientific contemporary debate, with a particular attention to the sociological approach. To be more specific, this work intend to analyze in which measure the way the sociological stories can be placed into an even bigger cultural movement in which the Mithological references that are feeding the contemporary imaginary are changing deeply. Additionally, once highlighted the strength and the limits of some of the proposals coming from the cognitive sciences, we propose a reading - and so an additional possible story telling alternative- of the feeling of fear open and amplified end and a more articulated inter-disciplinary approach. Between the objectives the proposals tends to, we would at the end try to stimulate a more intense opening between the different cognitive sciences and the Sociology of the cultural and communicative processes.
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