戏剧世界之情绪的认知研究

外国文学研究 ›› 2021, Vol. 43 ›› Issue (5): 79-92.

戏剧世界之情绪的认知研究

何辉斌

出版日期:2021-10-25 发布日期:2021-10-28
作者简介:何辉斌,浙江大学外语学院教授,主要从事认知诗学、比较文学、戏剧学研究。
基金资助:
国家社会科学基金重点项目“戏剧表演和观赏的认知研究”（17AWW006）

Cognitive Study of the Emotions in Drama

He Huibin

Online:2021-10-25 Published:2021-10-28
About author:He Huibin is a professor at the School of International Studies, Zhejiang University (Hangzhou 310058, China) , specializing in cognitive poetics, comparative literature, and dramatic theory. Email: hehuibin@163.com
Supported by:
“Cognitive Study of Performing and Watching of Drama”（17AWW006）sponsored by the National Social Science Fund of China

摘要/Abstract

内容摘要： 从效价的角度看,消极情绪比积极情绪容易引起注意力和认知能力的聚焦;从动机强度和唤醒度的方面来说,高强度的和高唤醒度的情绪更容易促使注意力和认知能力集中于一点;目标实现前注意力与认知能力更容易专注于一点;与这三种情况相反的情景则使注意力和认知能力具有更大的宽度、弹性和创造性。戏剧倾向于选择高动机强度高唤醒度的消极情绪,并聚焦于目标实现之前,以便能够死死地将观众吸引住,但在戏剧性强的情景中,认知的灵活性、创造性、多样性会大大降低。

关键词: 戏剧, 情绪, 认知

Abstract: In terms of valence, negative emotions tend to attract more attention and focalize more cognition than positive emotions. Emotions of high motivational intensity and arousal may focus attraction and cognition on one point more easily. During the pre-goal phase, our attention and cognition incline to have a narrow focus. In a situation that is contrary to the above-mentioned cases, our attention and cognition could have more breadth, flexibility, and creativity. Drama favors choosing negative emotions with high motivational intensity and arousal and focusing its maneuvering on the pre-goal phase in order to engage the audience closely, but such highly dramatic situations will allow much less cognitive flexibility, creativity, and diversity.

Key words: drama, emotions, cognition

何辉斌. 戏剧世界之情绪的认知研究[J]. 外国文学研究, 2021, 43(5): 79-92.

He Huibin. Cognitive Study of the Emotions in Drama[J]. Foreign Literature Studies, 2021, 43(5): 79-92.

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