synesthesia是什么意思esthesia在线翻译读音

2023年4月7日发(作者：圣诞歌曲有哪些)Zeugma vs Synaesthesia (or Synesthesia)



Zeugma (轭式搭配):

Use of one word (usually an adjective or a verb) to serve two or more other words with more than one meaning. Example: The dance floor was square, and so was the bandleader’s personality. Explanation: Square describes the dance floor and the bandleader’s personality with different meanings.



把适用于某一事物的词语顺势用到另外一事物上的方法。在同一个句子里一个词可以修饰或者控制两个或更多的词，它可以使语言活泼，富有幽默感。



***



Zeugma (from the Greek: ze?gma, meaning \"yoke\") is a figure of speech descri塞下曲卢纶其一 bing the joining of two or more parts of a sentence with a single common verb or noun. A zeugma employs both ellipsis, the omission of words which are easily understood, and parallelism, the balance of several words or phrases. The result is a series of similar phrases joined or yoked together by a common and implied noun or verb. A syllepsis is a particular kind of zeugma, and there is a clear distinction between the two in classical treatises written on the subject. Henry Peacham praises the “delight of the ear” in the use of the zeugma in rhetoric, but stresses that “too many clauses\" should be avoided. The zeugma is categorized according to the location and part of speech of the governing word.



***



Zeugma:

a figure of speech in which a word applies to two others in different senses or to two others of which it semantically suits only one. Compare with syllepsis



Zeugma: It is a single word which is made to modify or to govern two or more words in the same sentence, whether properly applying in sense to only one of them, or applying to them in different senses.



“Mr. Jones took his coat and his leave”

She came to me with weeping eyes and hearts.

John and his driving licence expired last week.

She opened the door and her heart to the homeless boy.

As I left home after breakfast, I shivered inwardly as well as outwardly.

I would my horse had the speed of your tongue.

The sun shall not burn you by day, nor the moon by night.(Here noon is not strong enough to burn)

\"Who sees with equal eye, as God of all,

A hero perish, or a sparrow fall,

Atoms or systems into ruin hurled,

And now a bubble burst, and now a world.\"

(Alexander Pope, Essay on Man)





\"Kill all the poys [boys] and luggage!\"

(Fluellen in William Shakespeare\'s Henry V)





\"You are free to execute your laws, and your citizens, as you see fit.\"

(Star Trek: The Next Generation)





\"He carried a strobe light and the responsibility for the lives of his men.\"

(Tim O\'Brien, The Things They Carried)





\"But Ted Lavender, who was scared, carried 34 rounds when he was shot and killed outside Than Khe, and he went down under an exceptional burden, more than 20 pounds of ammunition, plus the flak jacket and helmet and rations and water and toilet paper and tranquilizers and all the rest, plus an unweighed fear

.\"

(Tim O\'Brien, The Things They Carried)





\"The theme of the Egg Hunt is \'learning is delightful and delicious\'--as, by the way, am I.\"

(Allison Janney as C.J. Cregg in The West Wing)





\"You held your breath and the door for me.\"

(Alanis Morissette, \"Head over Feet\")

Pronunciation: ZOOG-muh





^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^



syllepsis:



Syllepsis, also known as semantic zeugma, is a particular type of zeugma in which the clauses disagree in either meaning or grammar. The governing word may change meaning with respect to the other words it modifies. This creates a semantic incongruity that is often humorous. Alternatively, a syllepsis may contain a governing word or phrase that does not agree grammatically with one or more of its distributed terms. This is an intentional construction in which rules of grammar are bent for stylistic effect.



a figure of speech in which a word is applied to two others in different senses ( e.g. caught the train and a bad cold) or to two others of which it grammatically suits only one (e.g. neither they nor it is working)



Syllepsis: (一语双叙） It has two connotations. In the first case, it is a figure by which a word, or a particular form or inflection of a word, refers to two or more words in the same sentence, while properly applying to or agreeing with only one of them in grammar or syntax. In the second case, a word may refer to two or more words in the same sentence.



\"While he was fighting, and losing limb and mind, and dying, others stayed behind to pursue education and career. (Here to lose one\'s limbs is literal; to lose one\'s mind is figurative, and means to go mad.)



\"He addressed you and me, and desired us to follow him. (Here us is used to refer to you and me.)



^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^



synaesthesia (Am. synesthesia) (Physiology & Psychology)the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body

(生理，心理)连带感觉，牵连感觉，共同感觉



***



synaesthesia: from the Ancient Greek (syn=\"together\" and aisthsis=\"sensation\". It is a neurologically-based condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.



***



Synaesthesia (syn =joined, aesthesia =sense), literally, \'joining the senses,’ is a neurological rarity in which two or more senses are connected. For example music might be \"seen\" in colours and patterns, taste may be seen in shapes, letters may have textures, etc.



***



synaesthesia: 1) A condition in which one type of stimulation evokes the sensation of another, as when the hearing of a sound produces the visualization of a color. 2) A sensation felt in one part of the body as a result of stimulus applied to another, as in referred pain. 3) The description of one kind of sense impression by using words that normally describe another. 4) A se

nsation that normally occurs in one sense modality occurs when another modality is stimulated



***



synaesthesia: a blending or confusion of different kinds of sense‐impression, in which one type of sensation is referred to in terms more appropriate to another. Common synaesthetic expressions include the descriptions of colours as ‘loud’ or ‘warm’, and of sounds as ‘smooth’. This effect was cultivated consciously by the French Symbolists, but is often found in earlier poetry, notably in Keats.



***



synaesthesia:

1. A sensation felt in one part of the body when stimulus is applied to another part, e.g. visualization of a color on hearing a sound.

2. (In literature) Using an unrelated sense to describe something, e.g. warm sounds or fragrant words. Synesthesia has been used to refer to artistic and poetic devices which attempt to express a linkage between the senses.



Etymology

From New Latin, from syn- (together) + -esthesia, from Greek aisthesis (sensation or perception). Ultimately from Indo-European root au- (to perceive) from which other words such as audio, audience, audit, obey, oyez, auditorium, anesthesia, and aesthetic are derived



Usage

\"As many as one in 2,000 people has the mysterious condition known as synesthesia, a mingling of different senses into one. Some taste shapes. Others feel colours or see sounds.\" — Brad Evenson; Symphony of the Senses; National Post (Canada); Feb 26, 2002.



\"Ms. Mass\'s novel for young teens about synesthesia, \'A Mango-Shaped Space\' (Little, Brown, 2003), tells the story of a 13-year-old girl named Mia who perceives letters, numbers and sounds as colors.\" — Michelle Falkenstein; Jersey Footlights; The New York Times; Jul 4, 2004.





Synaesthesia literally, ‘joining the senses’. People who experience synaesthesia (synaesthetes) inhabit a world slightly, but magically different from that of most people — a world of extra colours, shapes, and sensations. ‘Mine is a universe of black “Is” and pink “We垬组词 dnesdays”, numbers that climb skywards and a roller-coaster shaped year’ is one description, reported by Motluk (1997). For synaesthetes, the experience of a single sense is accompanied by sensations in other sensory modalities.



Coloured-hearing is the most common form of synaesthesia, in which hearing a word elicits the perception of colour. The colour sensation elicited by a word is often determined by the letters in the word, with the first letter being the most influential. ‘For me “run”, “right”, and “religion” are all black … because the letter R is so strikingly black. … Even the word “red” … is a black word, while the “black” is, because of its B, blue’, said one synaesthete. The experience that words have particular colours can be helpful. Miss Stone, reported by Francis Galton in 1883, said ‘I have always associated the same colours with the same letters, and no effort will change the colour of one letter … O

ccasionally, when uncertain how a word should be spelt, I have considered what colour it ought to be, and have decided in that way. I believe this has often been a great help to me in spelling, both in English and foreign languages.’ Some composers report experiencing colours in response to chords or notes. For example, Olivier Messiaen stated; ‘I see colours which move with the music, and I sense these colours in an extremely vivid manner.’ Other forms of synaesthesia combine many of the senses. An extreme example was experienced by the patient ‘S’ who was intensively studied by the Russian neuropsychologist, Alexander Luria. Presented with a tone o陆游的诗词全集 f 2000 Hz at 113 decibels, S said, ‘It looks something like fireworks tinged with a pink-red hue. The strip of colour feels rough and unpleasant and it has an ugly taste — rather like that of a briny pickle.’ In this example a sound is elici估组词 ting experiences of colour, touch, and taste.



Synaesthetes are not simply using metaphorical language to describe sensations that are, in reality, no different from those of other people, nor have they simply learned peculiar associations between different senses. The synaesthetic experience is an automatic and involuntary response to certain stimuli. The experience is vivid and consistent: true synaesthetes give precisely the same descriptions of their experiences even when these are separated by months or years. In support of an organic basis, synaesthetes seem to have had their experiences from earliest childhood and certainly before the age of four, and the syndrome seems to run in families. A transient experience of synaesthesia can be induced in non-synaesthetes by drugs such as hashish and mescaline. All these observations suggest that an explanation of synaesthesia needs to be sought at the level of brain function.



The techniques of functional brain imaging (positron emission tomography and functional magnetic resonance imaging) have been used to observe brain activity associated with a synaesthetic experience. As yet, only one fully-controlled study has been reported, by Frith and Paulesu (1997). Volunteers were scanned who experienced colours when they heard words. In comparison to people who did not have such experiences, extra areas of brain activity were ide期盼的近义词 ntified in the synaesthetes when they were hearing words. This extra activity occurred in regions of the brain normally activated when naming the colours of objects, e.g. reporting ‘yellow’ in response to ‘banana’. Activity was not detected in regions of the visual cortex concerned with earlier stages of colour processing. This study confirms that the experiences reported by synaesthetes are associated with characteristic patterns of brain activity. The same regions are activated in non-synaesthetes when they are having experiences which are, to some extent, qualitatively similar. We remain, however, far from an understanding of the physiological basis of synaesthesia.




The problem is to explain how activity occurs in brain regions concerned with aspects of one kind of sense when the incoming stimulation derives from some other sense. There are essentially two possibilities (though very speculative), both of which involve some kind of ‘miswiring’ in the brain. The crosstalk theory suggests that information within the processing stream of one sensation crosses to another stream, leading to anomalous sensations. The feedback theory proposes that information from one sensory stream reaches a central region (e.g. a region concerned with object identity) and is then fed back towards the periphery, activating regions concerned with another sensory modality. Both ideas imply that, for a synaesthetic experience to occur, neural connections exist, that are not present, or not activated, in the more usual, non-synaesthetic individual. One suggestion is that the brain of an infant is naturally synaesthetic, such that information from any modality activates all sensory regions; activity in the cerebral cortex simply reflecting the amount of sensation, whatever its source. During maturation, responses to different modalities become localized in distinct brain regions. This differentiation may be achieved by the selective death of nerve cells, which is known to occur during infancy. Synaesthesia lasting into adulthood could be the consequence of partial failure of this mechanism.



Although synaesthesia is a relatively rare phenomenon (estimated to be 1 in 2000), understanding its physiological 李白长干行 basis is of considerable importance to neuroscience. If we can understand synaesthesia then we might also understand the general mechanism by which neural activity is translated into consc又狠又霸气的网名 ious sensory experience. The main philosophical interest of synaesthesia, however, is the vivid example that it provides of how subjective our perceptions really are.



— Chris Frith



Bibliography



Baron-Cohen, S. and Harrison, J. E. (1997). Synaesthesia: clas生怕的近义词 sic and contemporary readings. Blackwell, Oxford



***