eizogaku
Online ISSN : 2189-6542
Print ISSN : 0286-0279
ISSN-L : 0286-0279
Volume 46
Showing 1-2 articles out of 2 articles from the selected issue
A special edition on "Psychological Approaches to Image Understanding"
ARTICLES
  • Shigemasa Sumi
    1992 Volume 46 Pages 27-37,111-110
    Published: February 15, 1992
    Released: July 23, 2019
    JOURNALS FREE ACCESS

      When a figure is partly covered by another, amodal completion is seen, that is, the former is perceived to continue behind the latter or perceived in an overlapping form lying behind the latter. The amodal completion is produced according to the one-sided contour function of a line enclosing an area. When a line separates two stimulus areas, it appears taking a role of the contour at either side of the areas, not at both sides. and the rest, left enclosed incompletely, becomes complete in an amodalous manner. The amodal completion effect indicates the mental activities of making incomplete complete, by which the things not so as to be seen are seen. In rotation of the Metelli figure, an amodal disc appears clearly behind a moving window. If the figure is not completed in an amodalous manner, it is only seen as a crescent-shaped area adjacent to a lemon-shaped one which rotate on a 2-D plane. In the present paper, how the "making incomplete complete" processes sre highly productive mentally and how it makes our perceptual contents fruitful and rich, is discussed.

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  • Yuki Fukuda
    Type: research-article
    1992 Volume 46 Pages 56-70,110-109
    Published: February 15, 1992
    Released: July 23, 2019
    JOURNALS FREE ACCESS

      The purposes of this paper are to investigate the visual images of a story reader and the effect of a visual point-of-view on the understanding of the story, especially the inference of a character's feeling.

      There were developmental differences in the visual image of a story. Third graders had a visual image from a neutral point-of-view, like an audience watching a play on a stage. University students could operate visual points-of-view according to the plot of the story.

      There were also development differences in the effects of point-of-view in visual image on the inferences of the feeling of characters. Third graders could understand the feeling of the 'perspective character' who was imagined in the visual image deeper than that of the 'point-of-view character' who was set by the point-of-view in it. On the other hand, 5th graders could comprehend the emotion of the 'point-of-view character' more than that of the 'perspective character'. Undergraduates could state both of their feelings.

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