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The Routledge Handbook of Classics and Cognitive Theory最新文献

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What do we actually see on stage? 我们在舞台上看到了什么?
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-19
Anne-Sophie Noel
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引用次数: 0
Irony in theory and practice 反讽的理论与实践
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-15
L. Grillo
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引用次数: 0
Group identity and archaic lyric 群体认同与古抒情
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-12
Jessica M. Romney
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引用次数: 0
Sappho’s kinesthetic turn 萨福的动觉转向
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-18
Sarah Olsen
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引用次数: 0
Roman ritual orthopraxy and overimitation 罗马仪式的矫揉造作和过度模仿
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-16
Jacob L. Mackey
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引用次数: 0
Cognitive-functional grammar and the complexity of early Greek epic diction 认知功能语法与早期希腊史诗措辞的复杂性
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-2
A. Kahane
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引用次数: 0
Mirth and creative cognition in the spectating of Aristophanic comedy 阿里斯托芬喜剧观中的欢乐与创造性认知
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-20
Angeliki Varakis-Martin
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引用次数: 0
Theory of mind from Athens to Augustine 从雅典到奥古斯丁的心智理论
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-17
Paul C. Dilley
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引用次数: 0
Human cognition and narrative closure 人的认知与叙事封闭
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-9
J. Christensen
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引用次数: 0
Construal and immersion 解释和沉浸
Pub Date : 2018-11-21 DOI: 10.4324/9781315691398-4
R. Allan
Through the ages, listeners and readers of the Homeric epics have been impressed by their vividness (enargeia): their capacity to encourage the audience to visualize the storyworld and to feel as if one is transported onto the scene. In this chapter, this famous Homeric quality will be approached as a form of immersion, a concept adopted from cognitive narratology referring to the ‘experience through which a fictional world acquires the presence of an autonomous, language-independent reality populated with live human beings’ (Ryan 2015: 9). Immersion is an embodied phenomenon: the text can be seen as a set of cues to construct an embodied (sensory and action) simulation of the described situation. Crucial to an embodied simulation is construal, the conceptualization of the situation in terms of a number of cognitive dimensions, such as specificity, salience, perspective, dynamicity, and focus of attention. An immersion approach allows us to analyze Homeric vividness by means of a wide range of textual cues, of a narratological character (such as narrative speed, order, focalization, narratorial visibility, and suspense) as well as of a linguistic character (such as vocabulary, tense-aspect, modality, deixis, case marking, and intonation units). Using Homer’s description of Calypso’s cave (Od. 5.59-73) as an example, I will argue that a text’s immersive power is not only dependent on the presence of salient sensory details but is brought about by a tight interplay of various textual dimensions.
古今中外,荷马史诗的听众和读者都对其生动印象深刻:它们能够鼓励观众将故事世界形象化,并感觉自己仿佛被运送到现场。在本章中,这一著名的荷马特质将被视为一种沉浸形式,这是一种来自认知叙事学的概念,指的是“通过这种体验,虚构的世界获得了一个自主的、独立于语言的、充满了活生生的人类的现实”(Ryan 2015: 9)。沉浸是一种具体化的现象:文本可以被视为一组线索,用来构建对所描述情境的具体化(感官和行动)模拟。具身模拟的关键是解释,即根据许多认知维度对情境进行概念化,如特异性、显著性、视角、动态性和注意力焦点。浸入式方法使我们能够通过广泛的文本线索、叙事学特征(如叙事速度、顺序、焦点、叙事可见性和悬念)以及语言特征(如词汇、时态、情态、指示、大小写标记和语调单位)来分析荷马史诗的生动性。以荷马对卡利普索洞穴的描述(公元5.59-73年)为例,我将论证文本的沉浸性力量不仅依赖于显著感官细节的存在,而且是由各种文本维度的紧密相互作用带来的。
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引用次数: 1
期刊
The Routledge Handbook of Classics and Cognitive Theory
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