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意識の構造（２）
https://asahikawa-med.repo.nii.ac.jp/records/3812
https://asahikawa-med.repo.nii.ac.jp/records/38129da98678-87ad-4b4a-99d6-1c24dc161056
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
4372.pdf (672.4 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper_02(1) | |||||
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| 公開日 | 2012-04-25 | |||||
| タイトル | ||||||
| タイトル | 意識の構造（２） | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 意識の場 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
田中, 剛
× 田中, 剛 |
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| 著者 ローマ字 | ||||||
| 値 | Tanaka, Tsuyoshi | |||||
| 書誌情報 |
旭川医科大学紀要（一般教育） 号 28, p. 73-76, 発行日 2012-03-01 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-8090 | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Our hypothetical schema for the structure of consciousness is based on the synchronistic and diachronistic (transactual) structure of conscious being. This means that the brain is an organism which winds and unwinds its own time. We know that the phenomenological reduction (epoche) is a conversion of the subject itself, which breaks free from the limitations of the natural attitude by placing them “within brackets" (Einklammerung). It is not a simple purifying process of consciousness, because it suppresses neither the reality of lived experience, nor the reality of things, nor of nature. Consciousness thus does not exclude nature. It goes beyond nature. In relation to the organization and construction of the self, it is important to note that the self stands at the center of our schema. As concerns the development of the self, it is in a state of constitutional heteronomy, it has no autonomy (S. Freud). The formation of the self, on the other hand, is reduced to its own lack of recognition, that is, a knowledge or a recognition which is refracted through the prism of another's image (J. Lacan). Lacan. as we know, described identification as the joyful assuming of one's own specular image. The self establishes itself in the function of a radical misconception or denial. R. Magritte illustrated this situation by denying the laws of reflected mirror images. The use of converging lines for painting the Last Supper looks normal in the eyes of the viewer, but it gives us an imaginary viewpoint. Mach lies on his sofa and the body is only partly seen. The cognitive space is illustrated, but his phenomenal space is ignored. |
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| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 雑誌掲載版 | |||||
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| 内容記述タイプ | Other | |||||
| 内容記述 | text | |||||
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| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
