随着上世纪八十年代后认知科学的兴起和影响,在许多学科中出现了“认知转向”,纷纷将认知科学的理论和方法,应用于各自学科,于是认知语言学、认知语义学,认知诗学、认知文体学、认知音乐学,等等,无不挂上“认知(的)”这个修饰语,以了解本学科研究目标的内在意义。同时,在关于意义如何发生或交换的现有文献中出现大量的图表表达,如图象图式、理想认知模型,心智空间映现等。此外,随着神经科学的显著进展,有关人类神经系统结构间接地形成无数表达的假设,转而被用来支持各种不同观点和立场或美学经验的有效元素(Simonsen and Vang. 2008)。本文试图讨论认知科学的理论和方法如何被应用于符号学的研究,从而推动了认知符号学(cognitive semiotics)研究的出现和发展。
Donald 和 Andreassen (2007)的讨论恰当地总结了前面的论点,同时在更宽的人文语境下给施事定位。因此,他们分析了我们生活的细微的社会世界,也分析了人们用来外化和讨论人们认知的能力,即人们的记忆系统的复杂的文化结构。与此相同,Tylén (2007)审视了社会态势和文化遗产,将他的符号注意力移向意义是如何从衍生自看来不显眼的现象中。如人们在解释一块墓碑之后的原因施事时或引人着迷的一眨动时,观察到有意向的意义的效应。它是一种内在的符号能力,起源于共享的注意力,显然是人类特有的解释性认知的形式。
Deacon (2007/2008) 在他的长文中指出,科学性强的符号化过程理论必然要以信息理论为基础,从而使相关的概念在物理的、生物的、认知的,和计算机等方面的用途获得统一。遗憾的是这样的统一至今没有出现,而且信息内容的成因地位仍然是模糊的。缺乏这个基本的符号学理论趋向于现象学的术Concerns on the development of China
Line Brandt (2008) 认为文学表现的行为不是由参与者编织的,它植根于可直接指称的时间和空间,指向有“情景”的交际。但它所表述的内容不是由可观察到的事物直接陈述的时间和空间。因此,文学的使用为符号学和认知科学提供有趣的案例,它把人类认知作为主题兼及现象的王国和表达的机敏。反之,从文学研究看,认知科学可以提供某些认识上的和方法上的优势,为文学研究者就研究对象提供一种思考方法,同时体现独特的表现手段,特别是产生的环境。它也标志意义构建和解释的普遍过程。
次年,Rinner(1992)对Manfred Frank 的《什么是新结构主义》一书作了评论。他指出Frank 的第3个问题基本上是针对意义的观点是语用学的“言外之意”,而他认为意义的语用解释是没法控制的。对语码模型有所批评,对语言“类型”也提出挑战。按照Frank,一个符号的每次使用和对符号的每次认同的源头是有规律假设的判断,但这种判断不能从语码,即解释推导。
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