試論戲曲音樂與認知心理學－以客家戲《喜脈風雲》、《大宰門》為例

The result of a cognitive process, a symbol is a type of channel for visual communication. For complicated thinking behaviors, designers concretize and visualize abstract concepts. Visual design is one of the major elements in the formation and construction of meaning. Cognition is the key to constructing the communication of a message (symbolic design). For visual designers, communication and the visual cognition thereof are the ultimate goals. Designers need not only seek unique expression of visual beauty but also achieve an organic goal in visual communication, wherein, as a result, symbolic communication and cognition are required to reduce the cognitive noise in the process. The Swiss linguist Saussure has stated that ”symbols are combined with the signifier and the signified” to explain that symbols consist of the combination of formation and concept. He also discussed an arbitrary concept of symbols to illustrate the interaction between meanings and formation. By using concrete surface features transferred to abstract meaning to design cognitive procedures for symbolic design, an operational model of symbolic and cognitive design is explored. The purpose of this study was to understand the cognition and transference utilized by designers in the process of symbolic formation of meanings. On the basis of semiotics and cognitive psychology, a set of systemized-design operational methods was arranged and a study of designers' ”meaning” and ”formation” in symbolic design applied to the basic structure of visual cognition. The basic structure of both visual cognition and the creation of visual design procedures was used to explore the structural relationships among visual symbol formation, meanings and cognition.

This thesis presents an investigation towards the impact of environment on a musical performance. Drawing from the fields of music performance studies and environmental psychology, this research develops an interdisciplinary approach to understanding how a musical performance is experienced by the performer in different locations. Building on studies towards the effects of acoustical characteristics on musical playing, this research includes real-world environments within the performance research where existing studies have often relied upon simulated acoustical environments. Although some research has acknowledged the psychological influences of environment affecting a performance that cannot be replicated through acoustic simulation, a dedicated study is yet to have been conducted. Adapting theories and methods of environmental psychology, the emotional and psychological influences attached to surrounding environments that are affective in shaping a musical performance are investigated. These include: behaviour settings and socio-normative expectation, cultural significance, and attachment through personal meaning. Theories of interaction are also introduced, demonstrating the intricate person-environment relationship that can occur between a musician and their surroundings. In order to investigate the holistic impact of environment on a musical performance, an experimental test method has been designed to further related studies. Practical testing consists of three main performance and recording stages, titled the ‘Three-Stage Method’. Stage 1 invites eight participating musicians to play three short excerpts of instrumental music of their choosing in a real-world environment. Stage 2 requires repeat performances in a recording studio environment with an acoustic simulation of the previous environment responding in real-time. Stage 3 repeats the performances a third and final time in an unmediated recording studio setting. This method meets the request for real-world environments to be included in music performance research. Comparative analysis suggests that musicians do not necessarily play the same in a real-world environment as they do in an accurate simulation of the same location. Following practical testing, participants complete a post-experiment interview about their experiences throughout the entirety of the experiment. Interviews were semi-structured, allowing the interviewee to expand freely upon the questions asked. The interviews aim to achieve qualitative data regarding the individualistic experiences of each musician involved in the experiment in response to the surrounding environment, revealing aspects of personal meaning and significance otherwise unavailable. This research attends to gaps in both fields of music performance studies and environmental psychology; the need to include real-world environments in addition to acoustic simulations in performance-based experiments, and also to draw attention the importance of sound and acoustics in environmental perception that is relevant beyond music performance.

Theopsych: A Psychological Science Primer for Theologians

Special Issue of Scientia et Fides Experimental psychology and the notion of personhood Editors: Scott Harrower (Ridley College, Australia), Ryan Peterson (Biola University, USA) Juan F. Franck (Universidad Austral, Argentina) Call for Papers The proposed Special Issue of Scientia et Fides aims at documenting and promoting high level integrative work that extends the insights of psychological science into the philosophical and theological discussions of what is a person. Psychological science is based upon empirical research and concepts that justifiably arise from data. It often requires the revision of previous models by asking new questions, thereby opening up new avenues for exploration in theological and philosophical debates that have gotten bogged down. Theology and philosophy would be thus greatly strengthened if these disciplines were able to warrant their claims and also nuance these based upon the findings of psychological science. There has been some remarkable mutual interdisciplinary enrichment in the study of free will, agency, moral attitudes, character building, and religious beliefs. This Special Issue capitalizes on the fruitfulness of such previous work, inviting cross-disciplinary studies on the relevance and import of psychological science for renovating philosophical and theological discussions on personhood. Philosophers, theologians and psychologists (especially those in the developmental and social fields), share a common interest in the notion of personhood. It is an anchor point that supports a rich phenomenological description of our human experience (embodiment, subjectivity, interiority, relationality, spirituality, morality and transcendence), it accounts for the metaphysical place of man in the great chain of being, and it also reflects the presence of the divine, thus illuminating the foundations of religion. The present call for papers welcomes a wide variety of views and subjects. It aims at overcoming the sterility of overly strict epistemological divides, at the same time as recognizing some necessary methodological distinctions. It therefore endeavors to contribute to an expanded exercise of reason, bringing together mutually illuminating research methodologies. Papers submitted for review will reflect the present state of the art of debates and studies at the intersection of these fields, and will typically consist in either of the following, or a combination thereof: (1) theoretical or conceptual discussions that show why a fruitful engagement between experimental psychology and philosophy and/or theology can specifically advance our understanding of personhood; (2) specific contributions of psychological science that illuminate, enrich, challenge or nuance a particular notion of personhood; (3) claims and arguments drawn from philosophical or theological knowledge, which could open up new paths for collaborative work with experimental psychology. Contributions in English, Spanish, Polish, German, French, Italian, or Portuguese, addressing abovementioned or related topics, may be submitted (after registration) on the journal’s website: http://apcz.umk.pl/czasopisma/index.php/SetF/about/submissions#onlineSubmissions For further information, please contact the editors of the Special Issue at: piotrroszak@umk.pl The submission deadline is 31 May 2021 .

Mindfulness and emotion regulation in clinically depressed youth

Cognitive psychology and second language theaching-learning environments : an interdisciplinary perspective for activating creativity by utilizing the cybernetwork

意識流與極簡主義：《達洛維夫人》、《時時刻刻》與菲利普．格拉斯音樂之研究

Taking “Seven-Surname Property-Owning Ancestral Worship Association of Tik-tsam-sia”(hereafter as SPAWA) as the subject of research, the purpose of this project is to explore the historical development process of this organization as well as the experience of ethnic identity among members of this organization. Based upon above examination, this project also aims to sort out the typology of ethnic identity among Plains Aborigines of Tik-tsam-sia, and to describe the dynamic mechanism that shapes these specific types of ethnic identity. The Austronesian people was originally the only master that dwelled in the island of Taiwan. Starting from the 17th century, due to the ethnic contact and interaction with Hoklo and Hakka, these people were gradually assimilated and lost their identity as the master eventually. Not until the new era of “Post-Martial-Law” was coming, did there occur an opportunity for the Taiwanese Aborigines, including members of Tik-tsam-sia, to search for their identity. What on earth happened to the Plains Aborigines of Tik-tsam-sia in the last few centuries? How the future development goes? These are the major problematics probed in this study. The major research questions are stated as follows: 1). What is the historical evolution process of Tik-tsam-sia? How the members of the SPAWA develop a change on identity? 2). During different historical stages, what are the role and function of the SPAWA in keeping solidarity among her members? 3). What is the life history narrative in connection with “ethnic experience” presented by the descendents of SPAWA by way of in-depth interview? 4). Based upon above narrative, what is the “status/type” of ethnic identity of these interviewees? 5). In terms of the generation mechanism, in which way could we explain the aforementioned “status/type” of ethnic identity, especially the Plain Aborigines identity? I would answer the first two questions in Chapter Two and responded the third question in Chapter Three. In terms of the forth as well as fifth questions, I would discuss in Chapter Four. As for the research design is concerned, three methods --- document study, in-depth interview, and participant observation --- are adopted in this study. First of all, I would use document study to comprehend the history of Tik-tsam-sia. Then, in-depth interview is adopted to explore the ethnicity-relevant narratives stated by the member of SPAWA. Finally, participant observation is applied while taking part of the worship activity held by Tik-tsam-sia for getting a grip on her cultural patterns and meaning. The findings of this research are stated in the following way: 1). To some extent, the history of Tik-tsam-sia could be understood as an epitome of destiny of Taiwanese Aborigines. Following professor Shih-chung Hsieh’s framework, the history of ethnic contacts of Taiwanese Aborigines could be divided into four stages --- the stage of being the only master, the stage of being one of the masters, the stage of being conquered, and the stage of ready-to-disappear. 2). In terms of the function and role of SPAWA (and her forerunner), during the Qing era, it was basically a place for rent collection and ancestral worship. After entering the Japanese era, SPAWA was formally established and played a significant role in keeping solidarity among her members. 3). Almost all of the interviewees know their “aboriginal” roots and express their identity as both Plain Aborigines and Hakka at the same time. However, in public situations, there are still quite a number of them, declare their Hakka identity only, due to the stigmatized nature of their aboriginal identity. 4). The interviewees from different surnames demonstrate different degree of attachment toward their “aboriginal” identity. While some give equal weight to both Hakka and Plain Aboriginal identity, some others give priority to their Hakka identity than the Plain Aborigines identity, and the others put emphasis on their Plain Aboriginal identity than the Hakka identity. There are a few who even only recognize their Hakka identity. Through the application of the “Continuum of Biracial Identity,” four types of ethnic identity are found in this study: (1). Plain Aborigines with Hakka origin; (2). Plain Aborigines/Hakka; (3). Hakka with Plain Aborigines; and (4). Hakka. 5). In the light of the “Political Process Theory” adopted from social movement literature, four factors are identified to explain the emergence of Plain Aboriginal identity among members of SPAWA --- broad socio-economic processes, expanding political opportunities, indigenous organizational strength, and cognitive liberation. Keywords: Tik-tsam-sia, Plain Aborigines, Ethnic identity, Seven-Surname Property-Owning Ancestral Worship Association of Tik-tsam-sia (SPAWA), Political process theory

Objective To investigate the influence of psychological intervention in emotional disorder on blood pressure, lipids and glucose in hypertensive patients in community. Methods 599 hypertensive in community were divided to intervention group (n=302) and control group (n=297) by randomization. The control group received routine medication.Additionally the intervention group got another psychological intervention which lasted 6 months. An SCL-90 scale was adopted to evaluate patients' psychological change of mental health, blood sugar, low density lipoprotein cholesterol, total cholesterol, systolic pressure and diastolic blood pressure before and after treatment. Results Somatization, compulsion, interpersonal relationship, depression, anxiety, hostility and terror in intervention group((1.44±0.29), (1.78±0.39), (1.66±0.38), (1.63±0.48), (1.43±0.35), (1.37±0.52)and(1.28±0.41) respectively)had a lower score than control group((2.01±0.59), (2.04±0.68), (1.88±0.38), (1.84±0.59), (1.92±0.54), (1.61±0.53)and(1.60±0.50)). The differences were significant(P<0.01). After intervention, blood glucose, low density lipoprotein, total cholesterol, systolic pressure, and diastolic pressure were((4.65±0.811)mmol/L, (2.97±0.702)mmol/L, (4.86±0.884)mmol/L, (134.11±13.39)mm Hg(1 mm Hg=0.133 kPa) and (93.73±7.61)mm Hg respectively) and before intervention((5.09±0.710)mmol/L, (3.23±0.584)mmol/L, (5.36±1.138)mmol/L, (150.13±12.23)mm Hg and (89.64±8.35)mm Hg respectively). The differences were significant(P<0.05). Conclusion Cognitive behavioral therapy can improve community hypertension patients’ physiology and psychology, which is good for blood pressure, lipids, glucose control. Key words: Cognitive behavioral therapy; Hypertension; Physiology; Psychology

In the 19205 a Professor of Psychology at Yale University, Edward Robinson, and several of his graduate students conducted a major research programme in several museums investigating various aspects of visitor behaviour. These psychologists were concerned with both studying human attention and memory and with expanding the role of psychology in the improvement of public life. This programme ended in the 19305 and this applied area was not considered again until the 19705 when several psychologists, as well as researchers from the disciplines of education and museum management, began to publish studies of visitor behaviour. This more recent research focussed specifically on the design of exhibits and paid little attention to the development of psychological theory. The present thesis reports on a series of studies conducted in the earlier tradition of both extending psychological theory and providing knowledge for the better design of museum settings. The thesis is based upon the concepts of mindfulness and mindlessness as used by Ellen Langer in explaining cognition in social situations. Mindfulness refers to the processing of information available in a setting and the use of this information in the creation of new schema and new routines of behaviour. The opposing cognitive state of mindlessness refers to the use of existing routines of behaviour to guide behaviour in settings and involves minimal processing of the information in the setting. Langer argues that much behaviour is enacted mindlessly. Further mindfulness is likely to occur in novel or unfamiliar situations, when a routine is disrupted by something unexpected, or when the situation is of importance to the individual. A model to describe the behaviour and cognition of museum visitors based on mindfulness/mindlessness was set out and a series of predictions with regard to visitor behaviour and cognition were described. These predictions were then used to guide a review of the existing visitor research. The results reported in this research were shown to be consistent with the Mindfulness Model. A study was conducted with a sample of 348 individuals examining the emic descriptions of museum visits in an attempt to understand the scripts that museum visitors hold. This study examined frequency distributions and used crosstabulation analyses and mean difference tests to reveal that few visitors included in their descriptions any discussion of thinking, learning or processing information from exhibits. It was concluded that it was likely that many visitors quickly became mindless in museums and followed a simple routine of briefly glancing at exhibits as they moved through a museum. It was noted that this was consistent with observations of visitors in various museum settings. The predictions of the Mindfulness Model were then tested in two Australian museums using both observation and survey techniques. The two settings were a display of communications technology, the Semaphore to Satellite exhibition at the Museum of Victoria, and the Gallipoli and Sinai and Palestine galleries of me Australian War Memorial. These settings provided a range of exhibits for study. A total of730 visitors were observed and 275 surveyed in the Semaphore to Satellite exhibition and 1460 visitors were observed and 360 surveyed in the Gallipoli and Sinai and Palestine galleries of the Australian War Memorial. The data was analysed using crosstabulation analyses, mean difference tests and discriminant analysis. In both cases the results supported the predictions derived from the Mindfulness Model. The studies conducted at the Australian War Memorial also found that exhibits which invoke an affective response from visitors were more likely than other exhibits to induce mindfulness. The results of both studies indicated that motivation was an important variable for mindfulness. It was concluded that the Mindfulness/Mindlessness Model of Museum Visitor Behaviour and Cognition was supported by evidence collected in several settings. Potential applications of the model both within museums and in other settings were outlined. The study reported in Chapter Three has been published in the Australian Psychologist (Moscardo. 1991a).

Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. It also raises questions surrounding the corpus of queer musical practice—that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. A grounded theoretical analysis of the data gathered in these case studies provides the necessary material to argue that musical performance provides a creative context for the expression of queer identities and the empowerment of queer agency, as well as oppositional responses to and criticism of heterosexual hegemony, and the homogenisation and assimilation of mainstream gay culture. Resulting from this exploration of queer musical cultures, localised data gathering and analysis, this research also supposes a set of ideologies and sensibilities that can be considered indicative and potentially determinant of queer musical practice generally. Recognising that queer theory offers a useful theoretical discourse for understanding the complexities and flexibility of gender and sexual identities—particularly those that resist the binary logics of heteronormativity—this project foregrounds a question that is relatively unanswered in musicological work. It asks: how can musicology make use of queer theory in order to produce queer readings and new, anti-oppressive knowledge regarding musical performance, composition and participation? To answer this, it investigates the history of resistance towards embodied studies of music; the disjuncture between competing discourses of traditional and ‘new’ musicology; and recent developments in the pursuit of queer visibility within music studies. Building upon these recent developments, this work concludes that the integration of queer theoretical perspectives and queer aesthetic sensibilities within musicological discourse allows for a serious reconsideration of musical meaning and signification. In the development of a queer musicology, a committed awareness of queer theory, histories, styles and sensibilities, together with an embodied scholarly approach to music, is paramount. It is through this discursive nexus that musicology will be able to engage more fully with the troubling, performative and contingent qualities of gender, sexuality and desire.

In considering the contribution of cognitive neuropsychology to the understanding of persecutory delusions, we shall proceed in this chapter as follows: First, we shall consider the contribution of the more conventional clinical neuropsychological approach to the study of delusions. After all, cognitive neuropsychology developed as a hybrid of clinical neuropsychology (the psychological study of brain-injured people) and cognitive psychology (the study of the mental information-processing procedures that people use to perform such activities as speaking and understanding speech, and recognizing objects). Second, we shall outline the cognitive neuropsychological approach with brief reference to its history. Third, we shall describe how this approach has been applied to the study of delusions with reference to our two-deficit cognitive neuropsychological model of monothematic delusions. Finally we shall evaluate the applicability of this model to the explanation of other delusions that are not so obviously neuropsychological; here we shall focus on persecutory delusions.

Objective To observe the effect of TOMATIS auditory training on improving cognitive and post-traumatic stress disorder in patients after breast cancer chemotherapy. Methods Eighty invasive ductal carcinoma of breast cancer patients with cognition and psychological disorders were selected in the breast department of Tangshan People's Hospital from October 2016 to September 2017.All patients were randomly divided into control group (n=40) and experimental group (n=40). The experimental group was given the TOMATIS high and low audio frequency auditory training, and the control group was given ordinary music training.Before and after the intervention, the Chinese version of the Montreal cognitive assessment scale (MoCA) and the post-traumatic stress disorder scale (PTSD-SS) were evaluated for both groups of patients. Results After the intervention, the experimental group had significantly higher scores in visual structure skills((3.83±0.71)vs(2.68±0.57)), executive function ((2.23±0.53)vs(1.55±0.50)), attention and concentration((1.55±0.78)vs(1.23±0.53)), language((1.50±0.75)vs(1.08±0.47)), calculation((2.00±0.60)vs(1.45±0.75)), abstract thinking((1.63±0.54)vs(1.00±0.51)), memory((4.68±0.47)vs(2.70±0.72)), directive force((5.25±0.54)vs(3.90±0.81)) and total score((22.65±2.89)vs(15.58±2.10))than the control group(all P<0.05). After intervention, the scores of subjective assessment of traumatic events((2.60±0.63)vs(3.98±0.62)), repeated recurring experiences((24.05±2.72)vs(26.70±2.28)), avoidance symptoms((24.35±1.64)vs(26.40±1.19)), increased alertness((24.23±1.80)vs(25.45±1.20)), impaired social function((7.28±1.01)vs(8.68±0.66)), and total scores((85.85±5.13)vs(94.63±2.92)) in the experimental group were significantly lower than those in the control group, and the differences were statistically significant (all P<0.01). Conclusion TOMATIS auditory training can effectively improve the cognitive function and psychological state in breast cancer chemotherapy patients, which is worthy of popularization and application. Key words: TOMATIS auditory training; Breast cancer; Chemotherapy; Cognitive dysfunction; Post-traumatic stress disorder

The perspective of the present project can be inscribed in the so-called “Social Cognition” framework, that in the last years moved from a focus on the individual mind toward embodied and participatory aspects of social understanding. Among the topics relevant for social cognition, the aim of the thesis was to shed more light on motor resonance and joint action, by using two well-known effects of cognitive psychology: “Affordance” and “Simon”. In the first part of the project, the Affordance effect has been considered, starting from Gibson to some post-Gibsonian theorizations. Particular attention has received the notion of “Micro-affordance”. The theoretical and empirical overview allows to understand how it can be possible to use the affordance effect to investigate the issue of motor resonance. A first study employed a priming paradigm and explored both in adults and school-age children the influence of a micro-affordance that can be defined dangerousness, and how motor resonance develops. The second part of the thesis focused on the Simon effect, starting with the presentation of the “stimulus–response (S–R) compatibility effect” to introduce the “Simon effect”. Particular attention has been dedicated to recent studies on the “joint Simon effect”. The reviewed empirical findings have been discussed in a wider theoretical perspective on joint action. The second study was aimed at investigating whether shared representations, as indexed by the presence of the joint Simon effect, are modulated by minimal ingroup–outgroup distinctions and by experienced interdependence between participants. The third study explored to what extent prior experience could modulate performance in task sharing, combining two paradigms of cognitive psychology, the joint Simon and the joint transfer-of-learning. In a general discussion the results obtained in the three studies have been summarized, emphasizing their original contribution and their importance within the Social Cognition research.

Purpose: Improving creativity is an increasingly important national goal in Taiwan for meeting the challenges of knowledge-based economies. In recent years, numerous competitions for encouraging creativity were funded by public and private sectors, and several government programs targeted the cultivation of innovative power. The interest in multilevel research has just begun in Taiwan. The objectives of this research are twofold. Researchers of organizational behavior and administrative school management have increasingly emphasized the importance of multilevel research. Furthermore, psychologists from various fields have recently highlighted the importance of creativity in educational settings. Recent studies have also indicated that factors other than intelligence such as personality traits (e.g., intrinsic motivation and subject knowledge) or teachers' traits such as creativity teaching are predictors of students' creativities. Studies regarding creativity have identified critical individual and contextual variables that contribute to creative performance. However, the psychological mechanisms through which these factors influence creative performance were not systematically investigated. In this study, the influences of intrinsic motivation and subject knowledge are individual-level variables, and creativity teaching is a group-level variable when examining the creativity of students. Thus, the purpose of this study is to analyze elementary school students' creativities using multilevel analysis. Methods: The sample used in the study consists of 333 teachers and 3330 students from 43 elementary schools in Taiwan. Hierarchical linear modeling (HLM) was used to test the moderating effect of creativity teaching for teachers because the individual level and teacher level are analyzed in this study. Findings: Findings showed that the intrinsic motivation, subject knowledge, and promotion of creative intentions directly affected the creativity of students. Conversely, the promotion of creative intentions had positive moderating effects on the relationship between intrinsic motivation and creativity. Furthermore, the promotion of creative intentions had negative moderating effects on the relationship between subject knowledge and creativity. Conclusions/Implications: The important relationship factors were the intrinsic motivation, subject knowledge, and the promotion of creative intentions. Furthermore, the promotion of creative intentions had different moderation roles. These findings have important implications for families, teachers, and especially for those immediately involved in nurturing the creativity of children such as parents and teachers. This study provides several discussions and suggestions based on these results.