Cognitive grammar in literature /

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This is the first book to present an account of literary meaning and effects drawing on our best understanding of mind and language in the form of a Cognitive Grammar. The contributors provide exemplary analyses of a range of literature from science fiction, dystopia, absurdism and graphic novels to...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Otros Autores: Harrison, Chloe (Editor ), Nuttall, Louise (Editor ), Stockwell, Peter (Editor ), Yuan, Wenjuan (Editor )
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Amsterdam ; Philadelphia : John Benjamins Publishing Company, [2014]
Colección:Linguistic approaches to literature ; v. 17.
Temas:
Cognitive grammar.
Discourse analysis, Literary.
Creativity (Linguistics)
Literature > History and criticism.
Grammaire cognitive.
Discours littéraire.
Créativité (Linguistique)
Littérature > Histoire et critique.
literary criticism.
LANGUAGE ARTS & DISCIPLINES > Grammar & Punctuation.
LANGUAGE ARTS & DISCIPLINES > Linguistics > Syntax.
Cognitive grammar
Discourse analysis, Literary
Literature
Kognitive Poetik
Linguistics and literature.
Kognitiv lingvistik.
Grammatik > psykologiska aspekter.
Litteratur.
Kreativitet i litteraturen.
Diskursanalys.
Textanalys.
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cognitive Grammar in Literature
  • Editorial page
  • Title page
  • LCC data
  • List of contributors
  • Acknowledgements
  • Foreword
  • Introduction
  • 1. The practice of literary linguistics
  • 2. Cognitive Grammar: An overview
  • 2.1 Constructions
  • 2.2 Construal
  • 2.3 Specificity
  • 2.4 Prominence
  • 2.5 Action chains
  • 2.6 Dynamicity
  • 2.7 Perspective
  • 2.8 Discourse
  • 3. Literary adaptations from CG
  • 3.1 Fictive simulation
  • 3.2 Ambience
  • 3.3 Point of view and consciousness
  • 3.4 De- and re-familiarisation
  • 3.5 Ethics: Responsibility and ascription
  • 4. The state of the art
  • Part I. Narrative fiction
  • War, Worlds and cognitive Grammar
  • 1. The grammatical battleground
  • 2. The grammar of anticipation
  • 3. The grammar of action
  • 4. The grammar of ambience
  • 5. The grammar of literature
  • Construal and comics
  • 1. Introduction
  • 2. Fun Home
  • a Gothic autobiography
  • 3. Construal in Cognitive Grammar
  • 4. Construal in Fun Home
  • 4.1 Profiling
  • 4.2 Profiling in Fun Home
  • 4.3 Viewing arrangements
  • 4.4 Viewing arrangements in Fun Home
  • 5. The current discourse space model
  • 6. Conclusion
  • Attentional windowing in David Foster Wallace's 'The Soul Is Not a Smithy'
  • 1. 'The Soul Is Not a Smithy'
  • 2. Windows, profiles, splices
  • 3. The cognitive turn vs. structuralism
  • 4. Discourse event frames
  • 5. Micro- and meso-windows
  • 6. Conceptual splicing
  • 7. Quantitative/ qualitative specificity
  • 8. Conclusion
  • Resonant Metaphor in Kazuo Ishiguro's Never Let Me Go
  • 1. Text-driven cognition
  • 2. Metaphor, cognition and text
  • 3. 'It seemed like we were holding on to each other because that was theonly way to stop us being swept away into the night': Analysing thetexture and resonance of simile
  • 3.1 Cognitive Grammar and modality: Fictionalising the ground.
  • 3.2 Cognitive Grammar and the force dynamics of modal similes: 'seemed like' versus 'was like'
  • 3.3 The source domain as literary figure: Simile and resonance
  • 4. Conclusion: More than mapping
  • Constructing a text world for The Handmaid's Tale
  • 1. World construal
  • 2. Structuring reality
  • 3. Building text worlds
  • 4. Reading The Handmaid's Tale
  • 5. Simulating experience
  • Point of view in translation
  • 1. Preliminaries
  • 2. POV
  • 3. POV in Alice in Wonderland
  • 4. Grammar
  • 4.1 Reference
  • 4.2 Processes
  • 4.3 Epistemic modality
  • 4.4 Units and constructions
  • 4.5 Iconicity
  • 5. The grammar of paratext
  • 6. Conclusions
  • Part II. Studies of poetry
  • Profiling the flight of 'The Windhover'
  • 1. Introduction: Literature and Cognitive Grammar
  • 2. Profiling Hopkins' 'The Windhover'
  • Foregrounding the foregrounded
  • Conceptual proximity and the experience of war in siegfried sassoon's 'A working party'
  • 1. Introduction
  • 2. 'A working party' and the importance of 1916
  • 3. The distribution of -ing forms
  • 4. The third person pronoun 'he'
  • 5. Reference point relationships and action chains
  • 6. Conclusion
  • Most and now
  • 1. The poem
  • 2. The song-situation
  • 3. Tense and aspect in Hungarian
  • 4. Taylor on tense and aspect
  • 5. Greimas and Courtés on aspectualisation
  • 6. Conclusion
  • Fictive Motion in Wordsworthian nature
  • 1. Wordsworth and the picturesque
  • 2. Fictive motion
  • 3. Fictive motion in Wordsworthian nature
  • 3.1 Light and shadow travels
  • 3.2 Mountains rise
  • 3.3 The hedge-rows run
  • 4. Discussion: Dynamicity, fictivity and subjectivity in Wordsworthian nature
  • The cognitive poetics of If
  • 1. Introduction
  • 2. Conditional usage
  • 3. Definitions
  • 4. Poetic examples
  • 5. Discussion
  • 6. Conclusion
  • Representing the represented.
  • Sheena Blackhall: 'Vincent's Bedroom in Arles, Painted 1888'
  • Adam Strickson: 'Vincent and I discuss "Bedroom at Arles" (Version 3)'
  • David Jibson: 'Vincent'
  • Michael Dylan Welch: 'Bedroom in Arles'
  • Toshiko Hirata: 'Van Gogh's Bedroom as I See It' (transl. Jeffrey Angles)
  • Dónall Dempsey: 'Little Girl Lost in Vincent's Bedroom'
  • Nancy Scott: 'Bedroom in Arles'
  • Afterword
  • References
  • Index.

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