Abstract Debate in philosophy of language and linguistics has focused on conceptual representations/propositional thought; as a result there has been little discussion on the effability of perceptual or, more generally, phenomenal representations and the communicative difficulties associated with them. In this paper, I start from an example based on the relative ineffability of kinaesthetic representations, i. e. representations involving bodily posture and movement, and then generalise the discussion by looking at the reasons why – even when there are no limits on either the richness of available contexts or the ways in which contextual material could be used to enrich linguistically encoded meanings – perceptual/phenomenal representations test our expressive capacities to the limit. Some recent work on linguistics suggests that the ineffability problem arises mainly with words whose linguistic meanings are tightly associated with perception. Arguing that a much wider variety of linguistic expressions can evoke phenomenal states – including proper names, whose main function is referential – I will try to show that the challenges phenomenal experience poses for our communicative abilities reach well beyond the limited range of those expressions tightly associated with emotion and perception.
{"title":"The curse of the perceptual: a case from kinaesthesia","authors":"P. Kolaiti","doi":"10.1515/jls-2017-0003","DOIUrl":"https://doi.org/10.1515/jls-2017-0003","url":null,"abstract":"Abstract Debate in philosophy of language and linguistics has focused on conceptual representations/propositional thought; as a result there has been little discussion on the effability of perceptual or, more generally, phenomenal representations and the communicative difficulties associated with them. In this paper, I start from an example based on the relative ineffability of kinaesthetic representations, i. e. representations involving bodily posture and movement, and then generalise the discussion by looking at the reasons why – even when there are no limits on either the richness of available contexts or the ways in which contextual material could be used to enrich linguistically encoded meanings – perceptual/phenomenal representations test our expressive capacities to the limit. Some recent work on linguistics suggests that the ineffability problem arises mainly with words whose linguistic meanings are tightly associated with perception. Arguing that a much wider variety of linguistic expressions can evoke phenomenal states – including proper names, whose main function is referential – I will try to show that the challenges phenomenal experience poses for our communicative abilities reach well beyond the limited range of those expressions tightly associated with emotion and perception.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2017-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Despite renewed attention to Katherine Mansfield’s writing in recent years, her work continues to be read largely for “its political and emotional sensibilities and so seldom... for the controlled effects of stylistic detail” (New 1999. Reading Mansfield and metaphors of form. McGill-Queen’s Press-MQUP: viii). In this article we consider her story “Bliss” in relation to how Mansfield choreographs the interplay between the inner and outer worlds of the central character and the consequences of her textual crafting of this interplay for a reading of the theme of Mansfield’s story. We draw largely on what is now considered “classical” stylistics, that is, stylistics informed by a social-semiotic linguistics (e. g. Butt 1983. Semantic Drift in Verbal Art. Australian Review of Applied Linguistics, 61, 34–48; Halliday 2002. Linguistic Studies of Text and Discourse. Volume 2 in the Collected Works of M.A.K. Halliday. London and New York: Continuum; Hasan 1985. Linguistics, Language and Verbal Art. Geelong, VIC: Deakin University Press; Hasan 1996a. On Teaching Literature Across Cultural Differences. In J. James Ed., The Language-Culture Connection pp. 34–63. Singapore: SEAMEO; Leech and Short 2007. Style in Fiction. 2nd Edition. London. Longman; Semino and Short 2004. Corpus Stylistics: Speech, Writing and Thought Presentation in a Corpus of English Writing. London: Routledge; Sotirova 2013. Consciousness in Modernist Fiction: A Stylistic Study. Palgrave Macmillan; Toolan 2001. Narrative: A critical linguistic introduction. Second Edition. Routledge; Toolan 2007. Language. In D. Herman Ed., The Cambridge companion to narrative pp. 231–244. Cambridge University Press;). Given the extensive variety of contributions to “post-classical” or “cognitive narratology” e. g. (Herman 2007. Introduction. In D. Herman (ed.), The Cambridge companion to narrative. Cambridge, UK: Cambridge University Press; McHale 2014. Speech Representation. In P. Hühn, J. C. Meister, J. Pier, & W. Schmid Eds., living handbook of narratology. Hamburg: Hamburg University. Retrieved from http://www.lhn.uni-hamburg.de/; Palmer 2004. Fictional minds. University of Nebraska Press) we briefly comment on why we have not taken this direction in our analysis.
尽管近年来凯瑟琳·曼斯菲尔德的作品重新受到关注，但她的作品仍然主要是因为“其政治和情感敏感性，很少……对风格细节的控制效果”(New 1999)。阅读曼斯菲尔德和形式隐喻。麦吉尔-奎恩出版社- mqup: viii)。在这篇文章中，我们将考虑她的故事“幸福”与曼斯菲尔德如何编排中心人物的内在世界和外在世界之间的相互作用，以及她对这种相互作用的文本制作的结果，以阅读曼斯菲尔德故事的主题。我们在很大程度上借鉴了现在被认为是“古典”文体学，也就是说，文体学是由社会符号学语言学(例如。1983年对接。语言艺术中的语义漂移。应用语言学评论，61,34-48;2002年韩礼德。语篇与语篇的语言学研究。韩礼德文集第二卷。伦敦和纽约:连续;哈桑1985。语言学，语言和口头艺术。吉朗，维克:迪肯大学出版社;哈桑1996 a。论跨文化的文学教学。见詹姆斯主编，《语言与文化的联系》第34-63页。新加坡:SEAMEO;Leech and Short 2007。小说风格。第二版。伦敦。朗文;Semino and Short 2004。语料库文体学:英语写作语料库中的演讲、写作和思想表达。伦敦:劳特利奇;Sotirova 2013。现代主义小说中的意识:文体研究。帕尔格雷夫麦克米伦;Toolan 2001。叙事性:批判性语言学导论。第二版。劳特利奇;Toolan 2007。语言。在赫尔曼主编的《剑桥叙事伴侣》231-244页。剑桥大学出版社;)鉴于对“后古典”或“认知叙事学”的广泛贡献。(Herman 2007。介绍。见D.赫尔曼主编，《剑桥叙事伴侣》。英国剑桥:剑桥大学出版社;麦克海尔2014。演讲中表示。见P. h， J. C.迈斯特，J.皮尔和W.施密德主编。，叙事学生活手册。汉堡:汉堡大学。检索自http://www.lhn.uni-hamburg.de/;2004年帕默。虚构的想法。内布拉斯加州大学出版社)，我们简要评论一下为什么我们在分析中没有采取这个方向。
{"title":"Inner and outer worlds: speech and thought presentation in Mansfield’s Bliss","authors":"Annabelle Lukin, A. Pagano","doi":"10.1515/jls-2016-0007","DOIUrl":"https://doi.org/10.1515/jls-2016-0007","url":null,"abstract":"Abstract Despite renewed attention to Katherine Mansfield’s writing in recent years, her work continues to be read largely for “its political and emotional sensibilities and so seldom... for the controlled effects of stylistic detail” (New 1999. Reading Mansfield and metaphors of form. McGill-Queen’s Press-MQUP: viii). In this article we consider her story “Bliss” in relation to how Mansfield choreographs the interplay between the inner and outer worlds of the central character and the consequences of her textual crafting of this interplay for a reading of the theme of Mansfield’s story. We draw largely on what is now considered “classical” stylistics, that is, stylistics informed by a social-semiotic linguistics (e. g. Butt 1983. Semantic Drift in Verbal Art. Australian Review of Applied Linguistics, 61, 34–48; Halliday 2002. Linguistic Studies of Text and Discourse. Volume 2 in the Collected Works of M.A.K. Halliday. London and New York: Continuum; Hasan 1985. Linguistics, Language and Verbal Art. Geelong, VIC: Deakin University Press; Hasan 1996a. On Teaching Literature Across Cultural Differences. In J. James Ed., The Language-Culture Connection pp. 34–63. Singapore: SEAMEO; Leech and Short 2007. Style in Fiction. 2nd Edition. London. Longman; Semino and Short 2004. Corpus Stylistics: Speech, Writing and Thought Presentation in a Corpus of English Writing. London: Routledge; Sotirova 2013. Consciousness in Modernist Fiction: A Stylistic Study. Palgrave Macmillan; Toolan 2001. Narrative: A critical linguistic introduction. Second Edition. Routledge; Toolan 2007. Language. In D. Herman Ed., The Cambridge companion to narrative pp. 231–244. Cambridge University Press;). Given the extensive variety of contributions to “post-classical” or “cognitive narratology” e. g. (Herman 2007. Introduction. In D. Herman (ed.), The Cambridge companion to narrative. Cambridge, UK: Cambridge University Press; McHale 2014. Speech Representation. In P. Hühn, J. C. Meister, J. Pier, & W. Schmid Eds., living handbook of narratology. Hamburg: Hamburg University. Retrieved from http://www.lhn.uni-hamburg.de/; Palmer 2004. Fictional minds. University of Nebraska Press) we briefly comment on why we have not taken this direction in our analysis.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article investigates the literary significance of two linguistic devices, repetition and negation, in the fictionalized biography “Northern Lights” by British-Caribbean writer Caryl Phillips, a narrative that focuses on David Oluwale, a Nigerian immigrant to the UK who died as a result of police violence in Leeds in 1969. To recount Oluwale’s story, “Northern Lights” uses a non-linear structure that juxtaposes stylistically diverse material such as eyewitness testimonies, a history of the city of Leeds, administrative documents, and passages featuring an authorial figure who apostrophizes the dead Oluwale. Analysing linguistic patterns found within and across these different textual segments, this article argues that repetition and negation play a key role in generating forms of dialogism that, in turn, implicitly indicate how “Northern Lights” positions itself towards Oluwale and his controversial story. From a more broadly methodological perspective, the article seeks to advance knowledge of how negation and repetition, when jointly studied as pragmatic phenomena, can impact literary strategies of characterization and reinforce a text’s poetic effects.
{"title":"“Nobody disappears. People don’t just disappear”: Repetition and negation as dialogic devices in Caryl Phillips’s “Northern Lights”","authors":"Daria Tunca","doi":"10.1515/jls-2020-2018","DOIUrl":"https://doi.org/10.1515/jls-2020-2018","url":null,"abstract":"Abstract This article investigates the literary significance of two linguistic devices, repetition and negation, in the fictionalized biography “Northern Lights” by British-Caribbean writer Caryl Phillips, a narrative that focuses on David Oluwale, a Nigerian immigrant to the UK who died as a result of police violence in Leeds in 1969. To recount Oluwale’s story, “Northern Lights” uses a non-linear structure that juxtaposes stylistically diverse material such as eyewitness testimonies, a history of the city of Leeds, administrative documents, and passages featuring an authorial figure who apostrophizes the dead Oluwale. Analysing linguistic patterns found within and across these different textual segments, this article argues that repetition and negation play a key role in generating forms of dialogism that, in turn, implicitly indicate how “Northern Lights” positions itself towards Oluwale and his controversial story. From a more broadly methodological perspective, the article seeks to advance knowledge of how negation and repetition, when jointly studied as pragmatic phenomena, can impact literary strategies of characterization and reinforce a text’s poetic effects.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article, we shall contribute to the theory of narrative closure. In pre-theoretical terms, a narrative features closure if it has an ending. We start by giving a general introduction into the closure phenomenon. Next, we offer a reconstruction of Noël Carroll’s (2007. Narrative closure. Philosophical Studies 135. 1–15) erotetic account of narrative closure, according to which a narrative exhibits closure (roughly) if readers have a “feeling of finality” which in turn is based on the judgment that the presiding macro questions posed by the plot of the narrative get answered. We then discuss a number of questions raised by Carroll’s account, namely whether a definition of “narrative closure” based on his account is either too inclusive or too exclusive; whether narrative closure is a property of narratives or of plots; whether narrative closure comes in grades; whether “narrative closure” is a restrictive notion; and whether “narrative closure” should be ascribed online (incrementally) or on the basis of all-things-considered ex post interpretations. Our answers to these questions are couched in terms of refined definitions, for this allows us to keep track of the progress and facilitates comparisons between the different proposals developed. Finally, we offer a definition of “narrative closure” that summarizes our amendments to Carroll’s theory.
{"title":"More on narrative closure","authors":"Tobias Klauk, Tilmann Köppe, Edgar Onea","doi":"10.1515/jls-2016-0003","DOIUrl":"https://doi.org/10.1515/jls-2016-0003","url":null,"abstract":"Abstract In this article, we shall contribute to the theory of narrative closure. In pre-theoretical terms, a narrative features closure if it has an ending. We start by giving a general introduction into the closure phenomenon. Next, we offer a reconstruction of Noël Carroll’s (2007. Narrative closure. Philosophical Studies 135. 1–15) erotetic account of narrative closure, according to which a narrative exhibits closure (roughly) if readers have a “feeling of finality” which in turn is based on the judgment that the presiding macro questions posed by the plot of the narrative get answered. We then discuss a number of questions raised by Carroll’s account, namely whether a definition of “narrative closure” based on his account is either too inclusive or too exclusive; whether narrative closure is a property of narratives or of plots; whether narrative closure comes in grades; whether “narrative closure” is a restrictive notion; and whether “narrative closure” should be ascribed online (incrementally) or on the basis of all-things-considered ex post interpretations. Our answers to these questions are couched in terms of refined definitions, for this allows us to keep track of the progress and facilitates comparisons between the different proposals developed. Finally, we offer a definition of “narrative closure” that summarizes our amendments to Carroll’s theory.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Following the theory of textual thematization at the level of fictional narrative discourse (Kikuchi 2001, Lose heart, gain heaven: The false reciprocity of gain and loss in Chaucer’s Troilus and Criseyde. Neuphilologische Mitteilungen CII(4). 427–434; 2001, Unveiling the dramatic secret of “Ghost” in Hamlet. Journal of Literary Semantics 39(2). 103–117; 2012, O I just want to leave this place: Auden’s discourse of thematized self-alienation. Philologia 10. 61–72; 2013, Poe’s name excavated: The mediating function and the transformation of discourse theme into discourse rheme. Language and Literature 22(1). 3–8), this article examines how Stephen Dedalus and Leopold Bloom in James Joyce’s Ulysses are walking representations of “two candles” set at the head of a dying Dublin. This is one instance of a grand design which is repeated in many of his novels. In “The Sisters”, the first short story in Dubliners and the earliest work in which the grand design can be seen, the two candles are verbally placed at the head of the novel. Later in the story, this design reappears in the house of a dead priest where his two sisters, like the two candles, are holding a wake for him. In Ulysses, Dedalus and Bloom, after roaming through Dublin, stand side by side urinating outside Bloom’s house, like candles offered for one who has crossed the border from old life to new life. This scene presages Molly’s free flowing stream of consciousness in the last chapter, in which her thoughts flow across the syntactic demarcations between utterances, as if symbolizing the dissolution of borders. I shall discuss Joyce’s underlying intent in Ulysses by assuming that the stages in which Dedalus and Bloom roam through Dublin and then urinate together are the theme or topic, and that the demarcation-crossing of Molly’s stream of consciousness, namely, the resolution of the demarcation between the two distinct entities as represented by the two candles, is the rheme or comment on this theme.
{"title":"The two walking candles in James Joyce’s Ulysses","authors":"Shigeo Kikuchi","doi":"10.1515/jls-2016-0006","DOIUrl":"https://doi.org/10.1515/jls-2016-0006","url":null,"abstract":"Abstract Following the theory of textual thematization at the level of fictional narrative discourse (Kikuchi 2001, Lose heart, gain heaven: The false reciprocity of gain and loss in Chaucer’s Troilus and Criseyde. Neuphilologische Mitteilungen CII(4). 427–434; 2001, Unveiling the dramatic secret of “Ghost” in Hamlet. Journal of Literary Semantics 39(2). 103–117; 2012, O I just want to leave this place: Auden’s discourse of thematized self-alienation. Philologia 10. 61–72; 2013, Poe’s name excavated: The mediating function and the transformation of discourse theme into discourse rheme. Language and Literature 22(1). 3–8), this article examines how Stephen Dedalus and Leopold Bloom in James Joyce’s Ulysses are walking representations of “two candles” set at the head of a dying Dublin. This is one instance of a grand design which is repeated in many of his novels. In “The Sisters”, the first short story in Dubliners and the earliest work in which the grand design can be seen, the two candles are verbally placed at the head of the novel. Later in the story, this design reappears in the house of a dead priest where his two sisters, like the two candles, are holding a wake for him. In Ulysses, Dedalus and Bloom, after roaming through Dublin, stand side by side urinating outside Bloom’s house, like candles offered for one who has crossed the border from old life to new life. This scene presages Molly’s free flowing stream of consciousness in the last chapter, in which her thoughts flow across the syntactic demarcations between utterances, as if symbolizing the dissolution of borders. I shall discuss Joyce’s underlying intent in Ulysses by assuming that the stages in which Dedalus and Bloom roam through Dublin and then urinate together are the theme or topic, and that the demarcation-crossing of Molly’s stream of consciousness, namely, the resolution of the demarcation between the two distinct entities as represented by the two candles, is the rheme or comment on this theme.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ken Ireland: Thomas Hardy, Time and Narrative: a Narratological Approach to His Novels","authors":"N. Addison","doi":"10.1515/jls-2016-0005","DOIUrl":"https://doi.org/10.1515/jls-2016-0005","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study presents a semantically-oriented theoretical and descriptive study of tense backshift and its literary effects in FID. Based on Fludernik’s study (1993), the detailed linguistic indicators of FID are described in order to provide the criteria for data collection for this study. The data are FID passages collected from four canonical English novels: Austen’s Persuasion, Conrad’s Lord Jim, and Woolf’s Mrs. Dalloway and To the Lighthouse. A theory of tense semantics underlying FID is explored, and the literary effects of tense backshift in FID are examined. The results of this study show that: (1) the mechanism of tense backshift in FID is tense backshift from absolute tense defined by the default temporal reference point t0 in present time domain in the narrator’s intensional domain into relative tense defined by the central time of orientation in past time domain in the represented character’s intensional domain; and (2) the literary effects of tense backshift in FID, analysed in terms of relative past tense, relative lazy past tense, relative past progressive tense and relative past future perfect tense are shown to be effects of remoteness, terseness, close-up and irony respectively.
{"title":"A semantic study of tense backshift and its literary effects in FID","authors":"Jiemin Bu","doi":"10.1515/jls-2016-0004","DOIUrl":"https://doi.org/10.1515/jls-2016-0004","url":null,"abstract":"Abstract This study presents a semantically-oriented theoretical and descriptive study of tense backshift and its literary effects in FID. Based on Fludernik’s study (1993), the detailed linguistic indicators of FID are described in order to provide the criteria for data collection for this study. The data are FID passages collected from four canonical English novels: Austen’s Persuasion, Conrad’s Lord Jim, and Woolf’s Mrs. Dalloway and To the Lighthouse. A theory of tense semantics underlying FID is explored, and the literary effects of tense backshift in FID are examined. The results of this study show that: (1) the mechanism of tense backshift in FID is tense backshift from absolute tense defined by the default temporal reference point t0 in present time domain in the narrator’s intensional domain into relative tense defined by the central time of orientation in past time domain in the represented character’s intensional domain; and (2) the literary effects of tense backshift in FID, analysed in terms of relative past tense, relative lazy past tense, relative past progressive tense and relative past future perfect tense are shown to be effects of remoteness, terseness, close-up and irony respectively.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Deploying a cognitive grammar perspective, this paper reads Gustav Hasford’s war narrative, The Short-Timers, as displaying the way attentional windowing is reflected in the language. We have taken the methodological decision of becoming cognitively sensitized to the linguistic texture of traumatically loaded episodes, with the aim of looking at the specific linguistic choices that the producer of literary language has made, and the role played by such linguistic choices in cueing the reader’s attention toward these event frames. Specifically, we demonstrate that confluence of windowing and nesting of attention with theories of conceptual metaphor, schema, and force dynamics can yield a fuller cognitive grammatical account of the foregrounded event frames. It is observed that allocation of salience to such event frames is greatly dependent on phraseology that has a high density of metaphoric constructions.
{"title":"Textual properties and attentional windowing: A cognitive grammatical account of Gustav Hasford’s The Short-Timers","authors":"Parivash Esmaeili, F. Amjad","doi":"10.1515/jls-2016-0009","DOIUrl":"https://doi.org/10.1515/jls-2016-0009","url":null,"abstract":"Abstract Deploying a cognitive grammar perspective, this paper reads Gustav Hasford’s war narrative, The Short-Timers, as displaying the way attentional windowing is reflected in the language. We have taken the methodological decision of becoming cognitively sensitized to the linguistic texture of traumatically loaded episodes, with the aim of looking at the specific linguistic choices that the producer of literary language has made, and the role played by such linguistic choices in cueing the reader’s attention toward these event frames. Specifically, we demonstrate that confluence of windowing and nesting of attention with theories of conceptual metaphor, schema, and force dynamics can yield a fuller cognitive grammatical account of the foregrounded event frames. It is observed that allocation of salience to such event frames is greatly dependent on phraseology that has a high density of metaphoric constructions.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Research on image schemas in language and cognition (containment, path, blockage, etc.) is largely based on de-contextualized linguistic expressions. This results in a view of image schemas as somehow detached from experience, constituting source domains for fixed conceptual projections from the concrete to the abstract. By showcasing creative examples of the poetics of containment throughout the long diachrony of Greek poetry, this article proposes that image schemas reflect the early attentional preferences of the human mind. These central features of image schemas are further selected for their suitability to create ad-hoc, non-perceptual meanings. Templates for conceptual integration involving image schemas also offer coherent patterns of variation, which opportunistically exploit arising connections with culture, context, and goals. Understanding the role of image schemas in meaning construction and verbal art requires the study of both the entrenched patterns and the know-how associated to their usage.
{"title":"Rethinking image schemas: Containment and Emotion in Greek Poetry","authors":"Cristóbal Pagán Cánovas","doi":"10.1515/jls-2016-0008","DOIUrl":"https://doi.org/10.1515/jls-2016-0008","url":null,"abstract":"Abstract Research on image schemas in language and cognition (containment, path, blockage, etc.) is largely based on de-contextualized linguistic expressions. This results in a view of image schemas as somehow detached from experience, constituting source domains for fixed conceptual projections from the concrete to the abstract. By showcasing creative examples of the poetics of containment throughout the long diachrony of Greek poetry, this article proposes that image schemas reflect the early attentional preferences of the human mind. These central features of image schemas are further selected for their suitability to create ad-hoc, non-perceptual meanings. Templates for conceptual integration involving image schemas also offer coherent patterns of variation, which opportunistically exploit arising connections with culture, context, and goals. Understanding the role of image schemas in meaning construction and verbal art requires the study of both the entrenched patterns and the know-how associated to their usage.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Language and literature can stimulate the embodied resources of perception. I argue that there is a puzzle about why we experience sequences of these embodied responses as integrated and coherent, even though they are not anchored in space and time by a perceiving body. Some successions of embodied representations would even be impossible in real world experience, yet they can still be experienced as coherent and flowing in response to verbal texts. One possibility is that embodied responses to language are fleeting; they need not be integrated because they do not depend on, or relate to, one another as they would in perception. Yet it is the potential for embodied representations to linger and connect with one another which underlies new and persuasive embodied literary theories of vividness, narrative coherence and metaphor comprehension. Another possibility is that readers anchor their embodied representations in a notional human body, one endowed with superhuman powers, such as omniscience. But this account relies on implausible, post hoc explanations. A third possibility is that integrating embodied representations produced by language need be no more problematic than integrating the deceptively patchy information harvested from the environment by perception, information which gives rise to an experience of the world in rich and continuous detail. Real world perceptual cues, however, sparse though they might be, are still integrated through grounding in specific points in time and space. To explain the integration of embodied effects, I draw on sensorimotor theories of perception, and on Clark’s suggestion (1997, Being There. Cambridge, MA: MIT Press) that language can be understood as an additional modality. In this light, the embodied simulations generated by literary texts can be integrated through patterning in a high dimensional, vector space neural architecture, a patterning which recalls real world experience but is specialised to the sustained experience of language itself. This account can help us understand what makes literary experience distinctive and unique.
{"title":"Being there yet not there: why don’t embodied responses to literary texts jar with one another?","authors":"Elspeth Jajdelska","doi":"10.1515/jls-2016-0002","DOIUrl":"https://doi.org/10.1515/jls-2016-0002","url":null,"abstract":"Abstract Language and literature can stimulate the embodied resources of perception. I argue that there is a puzzle about why we experience sequences of these embodied responses as integrated and coherent, even though they are not anchored in space and time by a perceiving body. Some successions of embodied representations would even be impossible in real world experience, yet they can still be experienced as coherent and flowing in response to verbal texts. One possibility is that embodied responses to language are fleeting; they need not be integrated because they do not depend on, or relate to, one another as they would in perception. Yet it is the potential for embodied representations to linger and connect with one another which underlies new and persuasive embodied literary theories of vividness, narrative coherence and metaphor comprehension. Another possibility is that readers anchor their embodied representations in a notional human body, one endowed with superhuman powers, such as omniscience. But this account relies on implausible, post hoc explanations. A third possibility is that integrating embodied representations produced by language need be no more problematic than integrating the deceptively patchy information harvested from the environment by perception, information which gives rise to an experience of the world in rich and continuous detail. Real world perceptual cues, however, sparse though they might be, are still integrated through grounding in specific points in time and space. To explain the integration of embodied effects, I draw on sensorimotor theories of perception, and on Clark’s suggestion (1997, Being There. Cambridge, MA: MIT Press) that language can be understood as an additional modality. In this light, the embodied simulations generated by literary texts can be integrated through patterning in a high dimensional, vector space neural architecture, a patterning which recalls real world experience but is specialised to the sustained experience of language itself. This account can help us understand what makes literary experience distinctive and unique.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2016-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66951465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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