Abstract This article offers our reply to Wolfgang Teubert. 2021. Embodiment is not the answer to meaning: A discussion of the theory underlying the article by Carina Rasse and Raymond W. Gibbs, Jr. in JLS 50(1). Journey of Literary Semantics 50. 89–106. Teurbert’s article examined discussion of our earlier publication in this journal on metaphorical thinking in people’s literary experiences of J.D. Salinger’s novel “The Catcher in the Rye.” Teubert makes several points about our advocacy of an embodied perspective on literary meaning and interpretation. He argues that literary experience is best characterized in terms of people’s verbalized, reflective statements about the meanings of literary texts. Data from cognitive linguistic analyses and behavioral experiments are less compelling, in his view, because these studies examine embodied metaphors from a discourse-external perspective and mostly focus on people’s fast, mostly unconscious processing of verbal metaphors. Our reply highlights the importance of studying linguistic understanding, and literary experience, along varying time-dimensions, the fact that many linguistic and behavioral studies examine embodied metaphorical thinking in more reflective, social circumstances, exactly as Teubert recommends. Finally, we suggest that looking at literary experience from an embodied perspective is tightly associated with a discourse-analytic point of view. Scholars can never dismiss the reality of embodiment in literary experience because it provides a critical, but not exclusive, constraint on how we express ourselves and enable others to create specific patterns of meaning in the words they read.
本文是对Wolfgang Teubert的回复。具体化不是意义的答案:对Carina Rasse和Raymond W. Gibbs Jr.在JLS 50(1)中文章的理论基础的讨论。文学语义学之旅89 - 106。图尔伯特的文章考察了我们之前在本刊上发表的关于J.D.塞林格小说《麦田里的守望者》中人们文学体验中的隐喻思维的讨论。对于我们倡导的文学意义和阐释的具身视角，图伯特提出了几点看法。他认为，文学体验的最佳特征是人们对文学文本意义的语言化、反思性陈述。在他看来，来自认知语言学分析和行为实验的数据不那么引人注目，因为这些研究从话语外部的角度考察了体现隐喻，并且主要关注人们对言语隐喻的快速、无意识的处理。我们的回答强调了沿着不同的时间维度研究语言理解和文学经验的重要性，事实上，许多语言和行为研究在更具反思性的社会环境中检验体现的隐喻思维，正如图伯特所建议的那样。最后，我们认为从具身的角度看待文学经验与话语分析的观点密切相关。学者们永远不能忽视文学经验中体现的现实，因为它为我们如何表达自己提供了一个关键的，但不是排他性的约束，并使其他人能够在他们所读的文字中创造出特定的意义模式。
{"title":"Embodiment in the diversity of literary experience: a reply to Wolfgang Teubert (2021)","authors":"R. Gibbs, Carina Rasse","doi":"10.1515/jls-2022-2050","DOIUrl":"https://doi.org/10.1515/jls-2022-2050","url":null,"abstract":"Abstract This article offers our reply to Wolfgang Teubert. 2021. Embodiment is not the answer to meaning: A discussion of the theory underlying the article by Carina Rasse and Raymond W. Gibbs, Jr. in JLS 50(1). Journey of Literary Semantics 50. 89–106. Teurbert’s article examined discussion of our earlier publication in this journal on metaphorical thinking in people’s literary experiences of J.D. Salinger’s novel “The Catcher in the Rye.” Teubert makes several points about our advocacy of an embodied perspective on literary meaning and interpretation. He argues that literary experience is best characterized in terms of people’s verbalized, reflective statements about the meanings of literary texts. Data from cognitive linguistic analyses and behavioral experiments are less compelling, in his view, because these studies examine embodied metaphors from a discourse-external perspective and mostly focus on people’s fast, mostly unconscious processing of verbal metaphors. Our reply highlights the importance of studying linguistic understanding, and literary experience, along varying time-dimensions, the fact that many linguistic and behavioral studies examine embodied metaphorical thinking in more reflective, social circumstances, exactly as Teubert recommends. Finally, we suggest that looking at literary experience from an embodied perspective is tightly associated with a discourse-analytic point of view. Scholars can never dismiss the reality of embodiment in literary experience because it provides a critical, but not exclusive, constraint on how we express ourselves and enable others to create specific patterns of meaning in the words they read.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42304990","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 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2022-01-01DOI: 10.1515/jls-2022-frontmatters1
{"title":"Frontmatter","authors":"","doi":"10.1515/jls-2022-frontmatters1","DOIUrl":"https://doi.org/10.1515/jls-2022-frontmatters1","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46913244","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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