Developmental Trajectory of Argument Structures Among Mandarin-Speaking Children

【112學年度心哲所春季心智系列講座】
Our next 2024 Spring Research Seminar talk is on May 10 (Fri). Information about this talk:
Speaker: Dr. Brian Yowyu Lin (National Taiwan University)
(https://www.forex.ntu.edu.tw/lin-yowyu/?lang=en)

Time & Place: May 10 (Fri) 15:30-17:20, ZhiXing Building Room 321, Yang Ming campus in Taipei City, National Yang Ming Chiao Tung University
Format: In English
Title:
Developmental Trajectory of Argument Structures Among Mandarin-Speaking Children
(The theme of this invited talk is related to psycholinguistics, linking topics of mind/brain, psychology, and linguistics. It may be interesting to compare analytical philosophy/philosophy of language with the topic in this talk, which adopts a perspective rooted in the realms of cognition, psychology, and language analysis.)

Abstract:
This study aimed to examine Borer and Wexler’s Maturation Hypothesis and Mandarin-speaking children’s developmental trajectory of argument structures. According to Borer and Wexler’s Maturation Hypothesis, even though children are born with all the syntactic components needed to learn a language, these components don’t become mature until roughly the age of four. To date, many studies have examined Maturation Hypothesis but the results are still far from conclusive. To further investigate the Maturation Hypothesis, the present study examines Mandarin unaccusatives with preverbal and postverbal arguments, unergatives and passives. If the Maturation Hypothesis is correct, children’s comprehension of unaccusatives with postverbal arguments and unergatives would precede their understanding of unaccusatives with preverbal arguments and passives. Preliminary results confirmed the Maturation Hypothesis. Mandarin children across one to four years old showed much better understanding of unaccusatives with postverbal arguments and unergatives than of the other two structures.
For more seminar information: https://forms.gle/bggagJWPLUT2K7W89

When Sympathy Hesitates: An Empathetic Understanding of Cinematic Slowness in Stray Dogs (2013)

講題:When Sympathy Hesitates: An Empathetic Understanding of Cinematic Slowness in
Stray Dogs (2013)
講者:Dr. Nick Hui-han Chen ( PhD in Film Studies, University of Birmingham)
主持人:勞維俊 (國立陽明交通大學視覺文化研究所副教授)
活動時間:113年5月9日(四) 下午2:00-5:00
線上演講連結:https://meet.google.com/itx-eccj-dtx

演講資訊:
Abstract:
With its minimalist narrative and long durational recordings of a family living on the margins of
modern society and drifting around deserted urban spaces in Taiwan, Stray Dogs (Jiaoyou, Tsai
Ming-liang, 2013) provides a productive reading of cinematic slowness and a critique of the
globalising domination of capitalism and neoliberalism in a locally and culturally specific context.
This paper will use Stray Dogs as a case study to explore how slow cinema encompasses both a
narrative that requires the audience’s sympathetic and intellectual understanding and a durational
perception of time that calls for empathy and intuition. We will look at the film’s temporal
illegibility and radical use of long takes through an analysis of Gilles Deleuze’s formulation of
‘peaks of present’ and ‘sheets of past’. Moreover, I will repurpose this Deleuzian reading, through a
study of David Martin-Jones’ idea of ‘a hesitant cinematic ethics’, as a moment of hesitation that
leads to an act of resistance – a resistance against the ongoing capitalist and neoliberal
standardisation, rationalisation and homogenisation of time’s, or more specifically duration’s,
heterogenous nature. By exploring the potential of ethical hesitation and political resistance,
underscored by slow aesthetics such as the use of long takes, this paper aims to make the case for a
specific and unique understanding of cinematic slowness as a philosophical signifier of empathy.

Speaker’s Bio:
An independent scholar, Nick Chen is awarded his PhD in Film Studies by the University of
Birmingham. He is currently working on his first monograph based on his doctoral thesis on slow
cinema. His recent journal articles can be found in Film-Philosophy and Deleuze and Guattari
Studies, both published by Edinburgh University Press.
Essential readings:

David Martin-Jones (2019). Cinema Against Doublethink: Ethical Encounters with the Lost Pasts
of World History. Routledge. Chapter 2 (pp. 63–88).
Gilles Deleuze (1985/1997). Cinema 2: The time-image. (H. Tomlinson & R. Galeta, Trans.).
University of Minnesota Press. Chapter 5 (pp. 98–125).
Stray Dogs 郊遊 (2013) Dir. Tsai Ming-liang 蔡明亮.

Recommended readings:
Bergson, Henri (1946/2007) The Creative Mind: An Introduction to Metaphysics. Translated by
Mabelle L. Andison. New York: Dover Publication. Chapter 4 (pp. 125–151).
Hui-Han Chen (2023) ‘When Sympathy Hesitates: An Empathetic Understanding of Cinematic
Slowness in Stray Dogs’, Film-Philosophy, 27 (3).
Louis Lo (2019) ‘Enduring the Long Take: Tsai Ming-liang’s Stray Dogs and the Dialectical
Image’, CLCWeb: Comparative Literature and Culture, 21 (5).
Song Hwee Lim (2014). Tsai Ming-liang and a Cinema of Slowness. University of Hawai’i Press.
Introduction (pp. 1–10).
Tiago de Luca & Nuno Barradas Jorge (Eds.) (2016). Slow Cinema. Edinburgh University Press.
Introduction (pp. 1–21).

Edward Lear and Victorian Visual Culture

[視文所演講資訊]
講題:Edward Lear and Victorian Visual Culture
講者:王沐嵐(國立臺灣大學文學院外國語文學系暨研究所 副教授)
主持人:黃桂瑩(國立陽明交通大學視覺文化研究所 副教授兼所長)
時間:113年5月10日(五)下午1:20-3:20
地點:知行樓後棟322會議室(陽明校區)

都會型社區大學的安老地方知識學

國立陽明交通大學科技與社會研究所講座活動
講 題:移動的「在地」:都會型社區大學的安老地方知識學
講 者:陳懷萱 專案助理教授 (國立臺灣大學創新領域學士學位學程)
主持人:郭文華 特聘教授 (國立陽明交通大學科技與社會研究所)
時 間:113年5月10日(五)下午1:00~3:00
地 點:國立陽明交通大學(陽明校區)知行樓2樓201教室

場所記憶:新媒體藝術展

5月5陽明日活動系列

展名: 場所記憶:新媒體藝術展
The Place of Memory and the Memory of Place: New Media Art Exhibition

展期: 4月25日~5月30日 每天09:00-17:00

地點: 知行樓一樓藝空間

策展人|陳永賢
藝術家|陳永賢 李鍵 潘勁 謝元
Artists|Yung-Hsien Chen, Kin Li, Jin Pan, Yuan Hsieh
開幕|2024.04.25(四)12:00

開幕表演 Opening Performance
新媒體音像表演 Audio – Visual Live Performance
藝術家|何恭譱 林雅暄 Artists|Kung Shan Ho, Ya Hsuan Lin

主辦|人文與社會科學院 知行藝空間
連絡人:徐先生 #65299
國立陽明交通大學 人文與社會科學院 知行藝空間

展覽內容:

《虛實迷宮》邀集 4 位新媒體藝術家展出新作,作品運用 3D 掃描、程式運算、虛擬實境、錄像、聲響及動力裝置等媒材,展覽充滿實驗精神的藝術表現。

作品特色如,陳永賢從消逝地景的角度,檢視電視巷興衰歷史和社會縮影,探索時代記憶對於非物質與文化地景的迷失。李鍵圍繞於自身經驗中對香港大帽山英軍遺址的洞察,探討主權移交後而遺留的殖民歷史與影像記憶。潘勁藉由長期對家鄉澎湖的海洋觀測與海域踏查,聚焦於黑水溝海域的沉船事件,找尋水下遺跡的幽暗歷史。謝元對於日常生活的節奏延伸,運用動力與材質間的運轉與敲擊聲響,投射出漣漪動態奇想,將無形記憶轉化為有形的光波動能。
展覽《虛實迷宮》以新媒體藝術的語言形式,重新翻攪對於記憶與場所的回返;藉由經歷種種人事物的觀察與詮釋,回應社會變遷下的場所記憶。並且,藝術家透過科技媒介,重新調度過去的場所與現在的記憶,進而在彼此激盪過程中產生新型態的對話,帶領觀者走入一座虛實迷宮,慢慢探索記憶模型和場所縫隙,召喚另一種文化記憶的當代形貌。