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The language of stories : a cognitive approach /
"How do we read stories? How do they engage our minds and create meaning? Are they a mental construct, a linguistic one or a cultural one? What is the difference between real stories and fictional ones? This book addresses such questions by describing the conceptual and linguistic underpinnings...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge ; New York :
Cambridge University Press,
2011.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; The Language of Stories; Title; Copyright; for Jacek and Szymek; Contents; Figures; Acknowledgements; Introduction; 1 Language and literary narratives; 1.1 Where does narrative meaning come from?; 1.2 Literary analysis and linguistic analysis; 1.3 Literature, language, and human nature; 1.4 Literary texts and communication; 1.5 Why is fiction special?; 1.6 Narrative and grounding; 1.7 Approaching narratives; 2 Blending, narrative spaces, and the emergent story; 2.1 Applying blending to fictional narratives; 2.2 Narrative spaces as mental spaces.
- 2.2.1 Sentential level versus textual level2.3 Narrative spaces
- an example; 2.3.1 Narrative anchors; 2.3.2 Anchoring: representation blends and frames; 2.3.3 Reference and story construction; 2.4 Emergent story; 2.4.1 Sequence of events and the story; 2.4.2 Story construction, vital relations, and optimality constraints; 3 Stories and their tellers; 3.1 Narrators, narrative spaces, and viewpoint; 3.2 Types of teller and epistemic viewpoint; 3.2.1 On-stage narrators; 3.2.2 Off-stage narrators; 3.2.3 Omniscience and narratorship; 3.2.4 Tense, person, and distancing.
- 3.2.5 Constructional compositionality3.3 Second-person narratives; 3.4 The teller, the author, and the character; 3.5 Multiple tellers; 3.6 Narrative space embedding; 3.7 Narrative viewpoint and narrative spaces; 4 Viewpoint: representation and compression; 4.1 Viewpoint and representation; 4.2 Viewpoint compression; 4.3 Decompression for viewpoint; 4.4 Fictive vision, causation, and change; 4.5 The micro level, the macro level, and viewpoint compression; 4.6 Speech, thought, and multiple levels of representation; 4.7 Narrative thought and intersubjectivity.
- 5 Referential expressions and narrative spaces5.1 Compression, decompression, and cross-space mappings; 5.2 Proper names, frame metonymy, and the status of a character; 5.3 Role-value mappings as cross-space connectors; 5.4 Common nouns; 5.5 Personal pronouns, viewpoint, and the narrator; 5.5.1 Mixing person and tense; 5.5.2 Pronouns and narratorship; 5.6 Deictic I and the construal of subjectivity; 6 Fictional minds and embodiment in drama and fiction; 6.1 Deictic ground in literary discourse; 6.2 Mental spaces, physical spaces, and dramatic narratives.
- 6.3 Materiality of the stage and fictional minds6.3.1 Narration on the stage; 6.3.2 The vertical dimension of the stage and representation of mental states; 6.3.3 Material objects and the human mind on the stage; 6.3.4 Ghosts and other supernatural occurrences on the stage; 6.4 From dramatic narratives to novelistic narratives; 6.5 Fictional minds, bodies, and brains; 7 Speech and thought in the narrative; 7.1 Types of discourse spaces in the narrative; 7.2 Speaking for thinking; 7.3 Levels of embedding in thought representation; 7.4 Viewpoint compression and constructional compositionality.