Abstract This paper investigates representation of perception in the novel. While many critics have great interests in the conceptual level of consciousness, namely characters’ thoughts, they have paid little attention to the perceptual level of consciousness. Characters’ perceptions are important, as they often lead to their cognitive activities, making up their experiences described in narrative. The narrative technique for representing perception that has been studied is what is called represented perception: a narrative technique for rendering a character’s perceptions without explicitly indicating his/her act of perception. However, as in the case of thought representation, there are more ways to represent fictional perception according to the degree of mediacy. This paper suggests a linguistic paradigm for perception representation, examining more mediate and im-mediate ways of representing perception with some historical insights, and reveals the varied importance of perception in the history of the novel.
{"title":"How do characters perceive their world? Representation of perception from traditional past-tense narrative to contemporary present-tense narrative","authors":"Eri Shigematsu","doi":"10.1515/jls-2022-2049","DOIUrl":"https://doi.org/10.1515/jls-2022-2049","url":null,"abstract":"Abstract This paper investigates representation of perception in the novel. While many critics have great interests in the conceptual level of consciousness, namely characters’ thoughts, they have paid little attention to the perceptual level of consciousness. Characters’ perceptions are important, as they often lead to their cognitive activities, making up their experiences described in narrative. The narrative technique for representing perception that has been studied is what is called represented perception: a narrative technique for rendering a character’s perceptions without explicitly indicating his/her act of perception. However, as in the case of thought representation, there are more ways to represent fictional perception according to the degree of mediacy. This paper suggests a linguistic paradigm for perception representation, examining more mediate and im-mediate ways of representing perception with some historical insights, and reveals the varied importance of perception in the history of the novel.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"51 1","pages":"37 - 53"},"PeriodicalIF":1.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48415534","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":"Marcello Giovanelli, Chloe Harrison and Louise Nuttall: New directions in cognitive grammar and style","authors":"Eric M. Rundquist","doi":"10.1515/jls-2022-2051","DOIUrl":"https://doi.org/10.1515/jls-2022-2051","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"51 1","pages":"67 - 71"},"PeriodicalIF":1.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46676874","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 1856, Margaret Garner murdered one child, and attempted to murder three others, rather than return them to slavery. Despite the impact traumas like Garner’s had on abolition, history largely forgets or ignores these gruesome details. In their place come racialist markers that obscure Garner’s likeness. Thomas Satterwhite Noble’s The Modern Medea, for example, depicts Garner with a head wrap and wild eyes. Visual cues such as these perpetuate an undifferentiating representation of Garner, categorized as something between asexual “mammy” and angry “slave.” I argue that Toni Morrison recovers Garner by reconfiguring what Hayden White terms the “historical account” with icons to connote paradoxical significations. Like paradoxes, these icons simultaneously embody complementary and yet oppositional significations without one privileged over the other. Morrison’s historiography thus produces in simultaneity a history told and repealed, which functions iconoclastically not only to engravings such as The Modern Medea but also to the linguistic system that structures an incomplete and surreptitious “historical account.”
{"title":"‘Made the absence shout’: paradox as iconoclasm in Toni Morrison’s Beloved","authors":"Brendon K. Vayo","doi":"10.1515/jls-2022-2048","DOIUrl":"https://doi.org/10.1515/jls-2022-2048","url":null,"abstract":"Abstract In 1856, Margaret Garner murdered one child, and attempted to murder three others, rather than return them to slavery. Despite the impact traumas like Garner’s had on abolition, history largely forgets or ignores these gruesome details. In their place come racialist markers that obscure Garner’s likeness. Thomas Satterwhite Noble’s The Modern Medea, for example, depicts Garner with a head wrap and wild eyes. Visual cues such as these perpetuate an undifferentiating representation of Garner, categorized as something between asexual “mammy” and angry “slave.” I argue that Toni Morrison recovers Garner by reconfiguring what Hayden White terms the “historical account” with icons to connote paradoxical significations. Like paradoxes, these icons simultaneously embody complementary and yet oppositional significations without one privileged over the other. Morrison’s historiography thus produces in simultaneity a history told and repealed, which functions iconoclastically not only to engravings such as The Modern Medea but also to the linguistic system that structures an incomplete and surreptitious “historical account.”","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"51 1","pages":"19 - 36"},"PeriodicalIF":1.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43212378","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 Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
{"title":"Possible worlds theory, accessibility relations, and counterfactual historical fiction","authors":"R. Raghunath","doi":"10.1515/jls-2022-2047","DOIUrl":"https://doi.org/10.1515/jls-2022-2047","url":null,"abstract":"Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"51 1","pages":"1 - 18"},"PeriodicalIF":1.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42651876","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}
Fowler's (Linguistics and the novel, Methuen, 1977) original definition of mind style emphasised consistency as a defining feature of the phenomenon, something that is (i) difficult to measure, and (ii) often missed in qualitative analyses. In this paper we investigate how a computational semantic analysis might be used to address this difficulty, with particular reference to McIntyre's (Journal of Literary Semantics 34: 21–40, 2005) analysis of the deviant mind style of the character of Miss Shepherd in Alan Bennett's play The Lady in the Van . To do this we analyse the speech of all the characters in The Lady in the Van using Wmatrix (Rayson, Matrix: A statistical method and software tool for linguistic analysis through corpus comparison, Lancaster University PhD thesis, 2003, Wmatrix: A web-based corpus processing environment, Lancaster University, 2008), to see whether it provides quantitative support for the interpretative conclusions reached by McIntyre. Wmatrix utilises the UCREL Semantic Annotation System (USAS) which has been designed to undertake the automatic semantic analysis of English. The initial tag-set of the USAS system was loosely based on McArthur's Longman Lexicon of Contemporary English (McArthur, Longman, 1981), but has since been considerably revised in the light of practical tagging problems met in the course of previous research, and now contains 232 category labels (such as medicine and medical treatment, movement, obligation and necessity , etc.). We use Wmatrix's facility for identifying key semantic domains in pursuit of our two main aims: (i) to determine whether Miss Shepherd's odd mind style is consistent, as Fowler's definition suggests it should be; and (ii) to determine the usefulness of computational semantic analysis for investigating mind style.
Fowler(语言学和小说，Methuen, 1977)对思维风格的最初定义强调一致性是现象的一个决定性特征，这是(i)难以测量的，(ii)在定性分析中经常被遗漏的。在本文中，我们研究了如何使用计算语义分析来解决这一难题，并特别参考了McIntyre (Journal of Literary Semantics, 2005)对Alan Bennett的戏剧《面包车里的女士》中Shepherd小姐角色的异常思维风格的分析。为此，我们使用Wmatrix (Rayson, Matrix:一种通过语料库比较进行语言分析的统计方法和软件工具，兰开斯特大学博士论文，2003,Wmatrix:一种基于网络的语料库处理环境，兰开斯特大学，2008)来分析《the Lady in the Van》中所有角色的语音，看看它是否为McIntyre得出的解释性结论提供了定量支持。Wmatrix利用UCREL语义标注系统(USAS)进行英语自动语义分析。USAS系统最初的标签集是松散地基于McArthur's Longman Lexicon of Contemporary English (McArthur, Longman, 1981)，但后来根据之前研究过程中遇到的实际标签问题进行了大量修改，现在包含232个类别标签(如医药和医疗、运动、义务和必要性等)。我们使用Wmatrix的工具来识别关键的语义域，以实现我们的两个主要目标:(i)确定谢泼德小姐的奇怪思维风格是否一致，正如福勒的定义所表明的那样;(ii)确定计算语义分析对调查思维风格的有用性。
{"title":"A corpus-based approach to mind style","authors":"Dan McIntyre, Dawn Archer","doi":"10.1515/jls-2021-2045","DOIUrl":"https://doi.org/10.1515/jls-2021-2045","url":null,"abstract":"Fowler's (Linguistics and the novel, Methuen, 1977) original definition of mind style emphasised consistency as a defining feature of the phenomenon, something that is (i) difficult to measure, and (ii) often missed in qualitative analyses. In this paper we investigate how a computational semantic analysis might be used to address this difficulty, with particular reference to McIntyre's (Journal of Literary Semantics 34: 21–40, 2005) analysis of the deviant mind style of the character of Miss Shepherd in Alan Bennett's play The Lady in the Van . To do this we analyse the speech of all the characters in The Lady in the Van using Wmatrix (Rayson, Matrix: A statistical method and software tool for linguistic analysis through corpus comparison, Lancaster University PhD thesis, 2003, Wmatrix: A web-based corpus processing environment, Lancaster University, 2008), to see whether it provides quantitative support for the interpretative conclusions reached by McIntyre. Wmatrix utilises the UCREL Semantic Annotation System (USAS) which has been designed to undertake the automatic semantic analysis of English. The initial tag-set of the USAS system was loosely based on McArthur's Longman Lexicon of Contemporary English (McArthur, Longman, 1981), but has since been considerably revised in the light of practical tagging problems met in the course of previous research, and now contains 232 category labels (such as medicine and medical treatment, movement, obligation and necessity , etc.). We use Wmatrix's facility for identifying key semantic domains in pursuit of our two main aims: (i) to determine whether Miss Shepherd's odd mind style is consistent, as Fowler's definition suggests it should be; and (ii) to determine the usefulness of computational semantic analysis for investigating mind style.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"88 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138539919","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":"Astrid Ensslin and Alice Bell: Digital fiction and the unnatural: Transmedial narrative theory, method, and analysis","authors":"Stefan Iversen","doi":"10.1515/jls-2021-2041","DOIUrl":"https://doi.org/10.1515/jls-2021-2041","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"51 1","pages":"3 - 7"},"PeriodicalIF":1.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44098988","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 Fiction has often shown that our sense of time can be affected by the spaces and things around us. In particular, the houses in which characters live can make the passing of time dilate, accelerate, even to seem to skip or stop. These interactions between place and time may represent more than metaphor or literary artifice, but rather genuine cognitive processes of embodied subjective time. This is demonstrated in an analysis of Lisa Gorton’s The Life of Houses, supplementing traditional stylistic analysis with cognitive poetics to explore an influence of the central house, the Sea House, on the young protagonist’s experience of time. Exploring the text through the fictional mental functioning of a main character offers a new way to understand The Life of Houses, and, more broadly, the cognitive approach set out in this article—one which takes into account various active and interactive influences on subjective time—may have implications for the interpretation of other works which analyse the connections between time, place, and self.
{"title":"Subjective time, place, and language in Lisa Gorton’s The Life of Houses","authors":"Isabelle Wentworth","doi":"10.1515/jls-2021-2033","DOIUrl":"https://doi.org/10.1515/jls-2021-2033","url":null,"abstract":"Abstract Fiction has often shown that our sense of time can be affected by the spaces and things around us. In particular, the houses in which characters live can make the passing of time dilate, accelerate, even to seem to skip or stop. These interactions between place and time may represent more than metaphor or literary artifice, but rather genuine cognitive processes of embodied subjective time. This is demonstrated in an analysis of Lisa Gorton’s The Life of Houses, supplementing traditional stylistic analysis with cognitive poetics to explore an influence of the central house, the Sea House, on the young protagonist’s experience of time. Exploring the text through the fictional mental functioning of a main character offers a new way to understand The Life of Houses, and, more broadly, the cognitive approach set out in this article—one which takes into account various active and interactive influences on subjective time—may have implications for the interpretation of other works which analyse the connections between time, place, and self.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":"50 1","pages":"107 - 125"},"PeriodicalIF":1.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47483704","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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