Cognitive Poetics (as such)

"Megtestesült olvasás" - A kognitív narratológia empirikus alapjai

by Márta Horváth

LitUP-Literary Universals Project

by Vito Evola

http://litup.unipa.it

Two Heads are Better Than One: Using Conceptual Mapping to Diagram Proverb Meaning

by Erik Aasland

There has always been an interest in how to interpret etaphorical proverbs. Recent research in cognitive cience can be... more There has always been an interest in how to interpret etaphorical proverbs. Recent research in cognitive cience can be utilized to effectively diagram proverb meaning, especially defining the base meaning and evaluating he proverb meaning as incorporated into a larger context such as a story (i.e. blended meaning). In this article Gilles auconnier and Mark Turner's model of conceptual blending (Fauconnier 2002) is applied and expanded to describe he process of metaphorical proverb meaning. The proverb under consideration serves as the conclusion to a Kazakh folktale. Through narrative analysis of the folktale the spaces of the proverb map can be filled in, and the base and blended meaning elucidated. Finally, there is a discussion of relevance as the process of incorporating cultural inferences which complete the meaning of the proverb both as base meaning and as blended meaning.

“Questioning Interdisciplinarity: Cognitive Science, Evolutionary Psychology, and Literary Criticism.” Poetics Today. 21:2 (Summer 2000): 319-347.

by tony jackson

“Issues and Problems in the Blending of Cognitive Science, Evolutionary Psychology, and Literary Study.” Invited Response Essay for Special Issue Literature, Culture, and the Cognitive Revolution. Poetics Today 23:1 (Spring 2002): 161-179.

by tony jackson

“‘Literary Interpretation’ and Cognitive Literary Studies.” Invited Response for Special Issue The Cognitive Turn?: A Debate on Interdisciplinarity. Poetics Today. 24:2 (Summer 2003): 191-205.

by tony jackson

“Explanation, Interpretation, and Close-Reading: the Progress of Cognitive Poetics.” Poetics Today. 26:3 (Fall 2005): 171-185.

by tony jackson

"Poet as Scapegoat--Poet as Strange Attractor: Control and Complexity in the _Pisan Cantos_" (1990; 1994; 2002))

by Martin E. Rosenberg

Derived from a chapter on Pound in my dissertation, this essay is half of a longer chapter in my manuscript _Fables of Emergence: The Cultural Work of Complexity in the Avant-Garde_, as yet unpublished.
Draft Only: Please do not cite or quote without permission of the author.

In this most accessible sequence in Pound's epic, poetry no longer manifests itself as the superimposition of order... more In this most accessible sequence in Pound's epic, poetry no longer manifests itself as the superimposition of order onto disorder: male, authoritarian, "the phallus or spermatozoid charging head on, the female chaos" (Natural Philosophy of Love, 170), but as passive, fragmented, circumstantial. The poetry seems symptomatic of a mind brutalized, perhaps even unhinged. POOR EZ! But Pound's critics are not all moved. Because of Pound's problematic stature as a preeminent man of letters, and as a high priest of fascism, an anti-Semite and a crackpot economist, critics have failed to observe the formal implications of how first Mussolini, and especially Pound function as sacrificial bullocks in the Pisan sequence. Il Duce and Pound are pharmakoi, at once casualties of a shift in the historical winds, poisonous, medicine for cultural renewal out of the ravages of war, the focus for the emotional and irrational fragments seemingly dispersed across the landscape of the Pisan Cantos. We must defer discussing the charges against Pound, substantial though they may be, in order to inquire how Pound's role as pharmakos shapes the matter and form of the Pisan sequence. Specifically: how sincere is Pound in registering the experience of a man "on whom the sun has gone down"(74/430)? How precise is he in transforming that experience into a poetics of victimization that diverges radically from the fascistic implications of his earlier, geometric and phallo-centric aesthetic, and indeed, bears study as a crucial anticipation of post-modern poetics? By comparing the palpably disintegrating interior and exterior landscapes of the Pisan sequence by reference to attractor states in complex systems, new and significantly original orderings seem to emerge spontaneously, contingently, and with significance beyond the emphasis of either the formal or substantial issues at stake with Pound's imprisonment.

Re-reading the script: a discursive appraisal of the use of the ‘schema’ in cognitive poetics

by Daniel Allington

Published in Working with English 2, 2005

This paper argues that what at first sight appear to be claims about the minds of readers can often be better... more This paper argues that what at first sight appear to be claims about the minds of readers can often be better understood as arguments about the qualities of texts. It is both a critique of schema theory as applied to literary analysis and a study in the rhetoric of literary evaluation.

Two literary readings that employ schema theory are analysed: Sara Mills's reading of Martin Amis's novel, London Fields, and Guy Cook's reading of Edward Bond's poem, 'First World War Poets'. It is argued that the rhetorical effectiveness of these writings is largely independent of the validity or otherwise of schema theory.

This paper can be downloaded free of charge:

http://oro.open.ac.uk/15336/1/Allington_2005.pdf

First steps towards a rhetorical psychology of literary interpretation

by Daniel Allington

Published in Journal of Literary Semantics 35 (2), 2006

This paper asks what the familiar conception of literary interpretation as socially situated and rhetorical might mean... more This paper asks what the familiar conception of literary interpretation as socially situated and rhetorical might mean on the cognitive level. Rejecting the prescriptiveness, individualism, and use of invented examples that theorisations of reading based on so-called ‘cognitive linguistics’ have involved, it attempts to develop Michael Billig's model of thought as argument into a theory of interpretation adequate to the complexities of actual reader discourse within one particular social context (academia). A detailed intertextual analysis is carried out to provide qualitative empirical support for this theory, showing how four critics read Joseph Conrad's Heart of Darkness by debating its correct interpretation.

If your institution does not subscribe to the Journal of Literary Semantics, you can ask me for a copy by following this link:

http://oro.open.ac.uk/cgi/request_doc?docid=5969