Abstract The aim of this paper is to take a close look at John McGahern’s mind style through the language of the heroine Elizabeth Reegan and other characters, in his 1963 novel The Barracks. Specifically, attention will be drawn to how the linguistic choices shape the figurative language to cast the author’s controversial views on the religion-pervaded puritan Irish society that he knew so well. This will be done from two different perspectives. One perspective is through the breast cancer afflicted heroine, who asserts herself as a free thinker and a woman of science, in a society where priests have a strong influence at all social levels, and most women settle for housekeeping. The other is also through Elizabeth, together with other minor characters, who dare question some of the basic well-established ideological assumptions, in a series of examples where the author skilfully raises two parallel dichotomies, namely, FAITH versus REASON, and DARKNESS versus LIGHT. At a linguistic level, the present analysis relies on precepts from Frame Semantics, Conceptual Metaphor Theory, and Cognitive Grammar. These insights prove a most useful method of approach to a narrative text while unearthing the author’s ideological world view.
{"title":"World-switch and mind style in The Barracks: a cognitive approach to ideology","authors":"Salvador Alarcón-Hermosilla","doi":"10.1515/jls-2021-2029","DOIUrl":"https://doi.org/10.1515/jls-2021-2029","url":null,"abstract":"Abstract The aim of this paper is to take a close look at John McGahern’s mind style through the language of the heroine Elizabeth Reegan and other characters, in his 1963 novel The Barracks. Specifically, attention will be drawn to how the linguistic choices shape the figurative language to cast the author’s controversial views on the religion-pervaded puritan Irish society that he knew so well. This will be done from two different perspectives. One perspective is through the breast cancer afflicted heroine, who asserts herself as a free thinker and a woman of science, in a society where priests have a strong influence at all social levels, and most women settle for housekeeping. The other is also through Elizabeth, together with other minor characters, who dare question some of the basic well-established ideological assumptions, in a series of examples where the author skilfully raises two parallel dichotomies, namely, FAITH versus REASON, and DARKNESS versus LIGHT. At a linguistic level, the present analysis relies on precepts from Frame Semantics, Conceptual Metaphor Theory, and Cognitive Grammar. These insights prove a most useful method of approach to a narrative text while unearthing the author’s ideological world view.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2021-2029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48483748","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 establishes the theoretical bases for a more direct and detailed exploration of fictional minds in cognitive stylistics. This discipline usually analyzes narrative discourse in terms of how readers process language and conceptualize narrative meaning, treating literary language more or less explicitly as a window into readers’ mental experiences. However, it is also possible to treat literary language as a window into characters’ minds, which, in spite of their obvious fictionality, could enhance the potential for cognitive linguistic analysis to inform our understanding of the human mind and consciousness more generally. This article explores the nature of linguistic meaning in different speech and thought presentation techniques primarily through the lens of Langacker’s Cognitive Grammar, ultimately prioritizing the representational semantics of Free Indirect Thought. It proposes a more precise understanding of the concept of ‘conceptualizer’ which would validate a type of mind style analysis that is more narrowly focused on illuminating the underlying mental activity of fictional characters instead of readers. It demonstrates this type of focus with a brief analysis of a passage from Charles Jackson’s The Lost Weekend.
{"title":"Literary meaning as character conceptualization: Re-orienting the cognitive stylistic analysis of character discourse and Free Indirect Thought","authors":"Eric M. Rundquist","doi":"10.1515/jls-2020-2024","DOIUrl":"https://doi.org/10.1515/jls-2020-2024","url":null,"abstract":"Abstract This article establishes the theoretical bases for a more direct and detailed exploration of fictional minds in cognitive stylistics. This discipline usually analyzes narrative discourse in terms of how readers process language and conceptualize narrative meaning, treating literary language more or less explicitly as a window into readers’ mental experiences. However, it is also possible to treat literary language as a window into characters’ minds, which, in spite of their obvious fictionality, could enhance the potential for cognitive linguistic analysis to inform our understanding of the human mind and consciousness more generally. This article explores the nature of linguistic meaning in different speech and thought presentation techniques primarily through the lens of Langacker’s Cognitive Grammar, ultimately prioritizing the representational semantics of Free Indirect Thought. It proposes a more precise understanding of the concept of ‘conceptualizer’ which would validate a type of mind style analysis that is more narrowly focused on illuminating the underlying mental activity of fictional characters instead of readers. It demonstrates this type of focus with a brief analysis of a passage from Charles Jackson’s The Lost Weekend.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48451282","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 explores hitherto unexplored complexities in the positioning of the Modernist narrator. Taking as a starting point Banfield’s ‘empty centre’ technique, the article re-evaluates the difficulties posed by this phenomenon and develops a more thorough and a sounder understanding of ‘the empty centre’. Some of the evidence for a new theory of ‘empty centre’ passages comes from pragmatics and naturally occurring discourse data. In particular, an investigation of the impersonal uses of generic pronouns, which Monika Fludernik (1993. The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness. London: Routledge; 1996. Towards a natural narratology. London: Routledge) had established as key to our understanding of the technique, sheds new light on the nature of the ‘empty centre’ technique and leads to a new understanding of the status of the Modernist narrator. I propose that it is most plausible that the reader will naturalise examples of ‘the empty centre’ as stemming from the narrator. I also argue that we need to construct a new understanding of the status of the Modernist narrator which takes into account some of the central tenets of the Modernist aesthetic, those concerning subjectivity and the possibility of objectivity. Thus, what emerges from the analysis is that the self, and the narratorial figure by extension, can no longer be endowed with the power of omniscience. I will develop my theoretical explanation of ‘the empty centre’ and the positioning of the narrator in Modernist fiction with reference to a variety of examples, mainly drawn from Katherine Mansfield and Virginia Woolf.
{"title":"The status of the narrator in Modernist fiction","authors":"V. Sotirova","doi":"10.1515/jls-2020-2021","DOIUrl":"https://doi.org/10.1515/jls-2020-2021","url":null,"abstract":"Abstract This article explores hitherto unexplored complexities in the positioning of the Modernist narrator. Taking as a starting point Banfield’s ‘empty centre’ technique, the article re-evaluates the difficulties posed by this phenomenon and develops a more thorough and a sounder understanding of ‘the empty centre’. Some of the evidence for a new theory of ‘empty centre’ passages comes from pragmatics and naturally occurring discourse data. In particular, an investigation of the impersonal uses of generic pronouns, which Monika Fludernik (1993. The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness. London: Routledge; 1996. Towards a natural narratology. London: Routledge) had established as key to our understanding of the technique, sheds new light on the nature of the ‘empty centre’ technique and leads to a new understanding of the status of the Modernist narrator. I propose that it is most plausible that the reader will naturalise examples of ‘the empty centre’ as stemming from the narrator. I also argue that we need to construct a new understanding of the status of the Modernist narrator which takes into account some of the central tenets of the Modernist aesthetic, those concerning subjectivity and the possibility of objectivity. Thus, what emerges from the analysis is that the self, and the narratorial figure by extension, can no longer be endowed with the power of omniscience. I will develop my theoretical explanation of ‘the empty centre’ and the positioning of the narrator in Modernist fiction with reference to a variety of examples, mainly drawn from Katherine Mansfield and Virginia Woolf.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48467337","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 examines the tragic sense permeating ancient Greek drama as a product of a special type of conceptual integration between two antithetic mental spaces, which prompts the simultaneous generation of two mutually exclusive emergent structures. The special tragic sense generated carries along the inferences of two equally impossible situations. The key-difference between this type of blend and other counterfactuals is argued to be found in the lack of reference scenario in the blend. In the context of theatrical enactment, the realisation of this special type of antithetic blend is based on the frame-clash between conceived and enacted space, matched by the emotions of pity and fear, respectively. The feeling of catharsis that follows the end of the play is analysed as a second level blend within the emergent structure that leads to the restoration of a single common space of cognitive compatibility between actors and audience.
{"title":"The tragic in Greek drama and conceptual blending","authors":"Georgios Ioannou","doi":"10.1515/jls-2020-2025","DOIUrl":"https://doi.org/10.1515/jls-2020-2025","url":null,"abstract":"Abstract This paper examines the tragic sense permeating ancient Greek drama as a product of a special type of conceptual integration between two antithetic mental spaces, which prompts the simultaneous generation of two mutually exclusive emergent structures. The special tragic sense generated carries along the inferences of two equally impossible situations. The key-difference between this type of blend and other counterfactuals is argued to be found in the lack of reference scenario in the blend. In the context of theatrical enactment, the realisation of this special type of antithetic blend is based on the frame-clash between conceived and enacted space, matched by the emotions of pity and fear, respectively. The feeling of catharsis that follows the end of the play is analysed as a second level blend within the emergent structure that leads to the restoration of a single common space of cognitive compatibility between actors and audience.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44868567","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 : 2020-10-01DOI: 10.1515/jls-2020-frontmatter2
{"title":"Frontmatter","authors":"","doi":"10.1515/jls-2020-frontmatter2","DOIUrl":"https://doi.org/10.1515/jls-2020-frontmatter2","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-frontmatter2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41513577","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 A fundamental assumption in relevance theory is that human cognition has evolved in the direction of increased efficiency and, as such, tends, as Sperber and Wilson (Relevance: Communication and cognition, 2nd ed. Oxford: Blackwell, 1995: 38–46, 260–66) put it in their cognitive principle, to be naturally geared towards the maximisation of relevance. The cognitive principle inter alia explains the selectivity of human agency and attention: for an input to merit the attention of the human cognitive system, it must seem relevant enough to be worth attending to. But what makes an input relevant? The relevance-theoretic account proposes that relevance for an individual organism at any specific time involves a balancing of mental effort and a particular type of worthwhile modifications, cognitive effects, that are representational in nature and amount to improvements in knowledge. The type of relevance yielded by such effects could be described as a cognitive type of relevance. However, inputs such as artistic stimuli – including literary ones – invite us to widen the scope of the causal engineering behind the selective directedness of our mental lives. Artistic stimuli merit the attention of the human cognitive system at various time-scales (momentary, developmental, and evolutionary). Following Kolaiti (The limits of expression: Language, literature, mind. Cambridge: Cambridge University Press, 2019: 76–94) and drawing on neuroscientific evidence from the last 25 years, I will make tentative suggestions that artistic stimuli may also yield non-representational worthwhile modifications or effects. My discussion focuses on one such type of effects involving the human perceptual system: perceptual effects. Being partly or wholly embodied, perceptual effects could extend the machinery of relevance theory in an embodied direction and widen its interdisciplinary implications.
{"title":"Perceptual relevance and art: Some tentative suggestions","authors":"P. Kolaiti","doi":"10.1515/jls-2020-2022","DOIUrl":"https://doi.org/10.1515/jls-2020-2022","url":null,"abstract":"Abstract A fundamental assumption in relevance theory is that human cognition has evolved in the direction of increased efficiency and, as such, tends, as Sperber and Wilson (Relevance: Communication and cognition, 2nd ed. Oxford: Blackwell, 1995: 38–46, 260–66) put it in their cognitive principle, to be naturally geared towards the maximisation of relevance. The cognitive principle inter alia explains the selectivity of human agency and attention: for an input to merit the attention of the human cognitive system, it must seem relevant enough to be worth attending to. But what makes an input relevant? The relevance-theoretic account proposes that relevance for an individual organism at any specific time involves a balancing of mental effort and a particular type of worthwhile modifications, cognitive effects, that are representational in nature and amount to improvements in knowledge. The type of relevance yielded by such effects could be described as a cognitive type of relevance. However, inputs such as artistic stimuli – including literary ones – invite us to widen the scope of the causal engineering behind the selective directedness of our mental lives. Artistic stimuli merit the attention of the human cognitive system at various time-scales (momentary, developmental, and evolutionary). Following Kolaiti (The limits of expression: Language, literature, mind. Cambridge: Cambridge University Press, 2019: 76–94) and drawing on neuroscientific evidence from the last 25 years, I will make tentative suggestions that artistic stimuli may also yield non-representational worthwhile modifications or effects. My discussion focuses on one such type of effects involving the human perceptual system: perceptual effects. Being partly or wholly embodied, perceptual effects could extend the machinery of relevance theory in an embodied direction and widen its interdisciplinary implications.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41571103","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 reviews Louw’s (1993 and subsequent publications) deployment of reference corpora in the light of existing philosophical and linguistic milestones when it comes to the notion of the truthfulness of a proposition. Louw (William Ernest. 1993. Irony in the text or insincerity in the writer? The diagnostic potential of semantic prosodies. In Mona Baker, Gill Francis & Elena Tognini-Bonelli (eds.), Text and technology: In honour of John Sinclair, 152–176. Amsterdam: John Benjamins) resorts to reference corpora in order either to explicate a rhetorical device (in Louw 1993, that of irony) or to attempt to reveal the true attitude of the speaker to his/her own proposition (including instances of insincerity). Using two methods (co-selection and wildcarding), an author’s collocational patterns in context are checked against those in the reference corpus, also in context. The frequent lexical variables of grammar strings are taken to represent that string’s corpus-derived subtext. Recently, Louw’s Contextual Prosodic Theory (CPT) has revealed the mechanism of prospection, whereby the grammatical pattern in the first line of a poem anticipates by its most frequent lexical collocates the themes in the remainder of the poem (Louw, Bill & Milojkovic, Marija. 2016. Corpus stylistics as contextual prosodic theory and subtext, 176–183. Amsterdam: John Benjamins). The philosophical background of Louw’s CPT is the works of Frege, Russell and Wittgenstein (Louw, William Ernest. 2010a. Collocation as instrumentation for meaning: A scientific fact. In Willie van Peer, Vander Viana & Sonia Zyngier (eds.), Literary education and digital learning: methods and technologies for humanities studies, 79–101. Hershey, PA: IGI Global and subsequent works) and could be said to be in need of further explanation and illustration. The paper discusses Louw’s take on insincerity (1993) as the speaker’s attitude to the truthfulness of her own statement from the point of view of Frege’s Sinn/Bedeutung distinction, Russell’s logical language, and Wittgenstein’s attitude to the relationship between language and reality. Since prospection may be considered objective proof of the effectiveness of Louw’s approach, an instance of prospection from a poem by Brodsky is used to show that Wittgenstein’s concern for the truthfulness of propositions may be viewed as both the guarantor and the beneficiary of Louw’s views. Additionally, the paper presents an example of prospection in the first line of a novel, Don DeLillo’s White Noise. However, other grammatical patterns in the passage studied in this paper do not contain deviations from the corpus norm, which conforms to the existing commentary on DeLillo in the field of literary criticism. The paper concludes by stating that reference corpora used inductively (Louw, William Ernest. 2017. Uneasy humour as discovery: Collocation and empathy as Whewellian consilience. Studying Humour: International Journal 4) may shed light on t
摘要本文回顾了劳(1993年及以后的出版物)在命题真实性概念方面对参考语料库的运用，并结合已有的哲学和语言学里程碑进行了评述。威廉·欧内斯特，1993。是文中的讽刺还是作者的虚伪?语义韵律的诊断潜力。在莫娜·贝克，吉尔·弗朗西斯和埃琳娜·托格尼-博内利(编)，文本和技术:在纪念约翰·辛克莱，152-176。阿姆斯特丹:约翰·本杰明)利用参考语料库来解释一种修辞手段(在1993年，是反讽的修辞手段)或试图揭示说话者对自己的命题的真实态度(包括不真诚的实例)。使用两种方法(共同选择和通配符)，将作者在上下文中的搭配模式与参考语料库中的搭配模式进行对照。语法字符串的频繁词法变量被用来表示该字符串的语料库派生的潜台词。最近，low的语境韵律理论(CPT)揭示了前体机制，即诗歌第一行的语法模式通过其最频繁的词汇搭配来预测诗歌其余部分的主题(low, Bill & Milojkovic, Marija, 2016)。语料库文体学作为语境韵律理论和潜台词，176-183。阿姆斯特丹:约翰·本杰明)。low的CPT理论的哲学背景是弗雷格、罗素和维特根斯坦的著作(low, William Ernest. 2010)。搭配作为表达意思的工具:一个科学事实。在Willie van Peer, Vander Viana和Sonia Zyngier(编)，文学教育和数字学习:人文学科研究的方法和技术，79-101。好时，PA: IGI Global和随后的作品)，可以说需要进一步的解释和说明。本文从弗雷格的Sinn/Bedeutung区分、罗素的逻辑语言和维特根斯坦对语言与现实关系的态度的角度，讨论了洛(1993)对不真诚的看法，即说话者对自己陈述的真实性的态度。由于展望可以被认为是洛的方法有效性的客观证明，因此本文以布罗茨基一首诗中的展望为例，表明维特根斯坦对命题真实性的关注可以被视为洛的观点的担保人和受益者。此外，本文还以唐·德里罗的《白噪音》为例，介绍了小说第一行的展望。然而，本文所研究的段落中的其他语法模式并没有偏离语料库规范，这与文学批评领域对德里罗的现有评论是一致的。本文最后指出归纳使用的参考语料库(low, William Ernest. 2017)。作为发现的不安幽默:搭配和同理心是惠威尔式的一致性。《研究幽默:国际期刊》可以揭示说话者对自己言论真实性的态度。
{"title":"Is the truthfulness of a proposition verifiable through access to reference corpora?","authors":"M. Milojković","doi":"10.1515/jls-2020-2023","DOIUrl":"https://doi.org/10.1515/jls-2020-2023","url":null,"abstract":"Abstract This paper reviews Louw’s (1993 and subsequent publications) deployment of reference corpora in the light of existing philosophical and linguistic milestones when it comes to the notion of the truthfulness of a proposition. Louw (William Ernest. 1993. Irony in the text or insincerity in the writer? The diagnostic potential of semantic prosodies. In Mona Baker, Gill Francis & Elena Tognini-Bonelli (eds.), Text and technology: In honour of John Sinclair, 152–176. Amsterdam: John Benjamins) resorts to reference corpora in order either to explicate a rhetorical device (in Louw 1993, that of irony) or to attempt to reveal the true attitude of the speaker to his/her own proposition (including instances of insincerity). Using two methods (co-selection and wildcarding), an author’s collocational patterns in context are checked against those in the reference corpus, also in context. The frequent lexical variables of grammar strings are taken to represent that string’s corpus-derived subtext. Recently, Louw’s Contextual Prosodic Theory (CPT) has revealed the mechanism of prospection, whereby the grammatical pattern in the first line of a poem anticipates by its most frequent lexical collocates the themes in the remainder of the poem (Louw, Bill & Milojkovic, Marija. 2016. Corpus stylistics as contextual prosodic theory and subtext, 176–183. Amsterdam: John Benjamins). The philosophical background of Louw’s CPT is the works of Frege, Russell and Wittgenstein (Louw, William Ernest. 2010a. Collocation as instrumentation for meaning: A scientific fact. In Willie van Peer, Vander Viana & Sonia Zyngier (eds.), Literary education and digital learning: methods and technologies for humanities studies, 79–101. Hershey, PA: IGI Global and subsequent works) and could be said to be in need of further explanation and illustration. The paper discusses Louw’s take on insincerity (1993) as the speaker’s attitude to the truthfulness of her own statement from the point of view of Frege’s Sinn/Bedeutung distinction, Russell’s logical language, and Wittgenstein’s attitude to the relationship between language and reality. Since prospection may be considered objective proof of the effectiveness of Louw’s approach, an instance of prospection from a poem by Brodsky is used to show that Wittgenstein’s concern for the truthfulness of propositions may be viewed as both the guarantor and the beneficiary of Louw’s views. Additionally, the paper presents an example of prospection in the first line of a novel, Don DeLillo’s White Noise. However, other grammatical patterns in the passage studied in this paper do not contain deviations from the corpus norm, which conforms to the existing commentary on DeLillo in the field of literary criticism. The paper concludes by stating that reference corpora used inductively (Louw, William Ernest. 2017. Uneasy humour as discovery: Collocation and empathy as Whewellian consilience. Studying Humour: International Journal 4) may shed light on t","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47178699","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 So far the cognitively-oriented study of literature has largely missed out on the cognitive conception of situatedness, which holds that human mental activity should be seen through the lens of its grounding in the physical, social and cultural milieu of the individual. Accordingly, the article shows the value of this approach in a Cognitive Linguistic analysis of Wisława Szymborska’s poem “Cat in an Empty Apartment”, setting out the ways in which situatedness underlies dynamic meaning construction in the production and reception of the work, giving rise to the singularity (Attridge 2004. The singularity of literature. London-New York: Routledge) of the poem. The paper concludes that situatedness can illuminate how the interplay of cognitive, linguistic, social and cultural factors might be brought to bear on the singularity of a literary work.
{"title":"The situatedness of meaning construction in Wisława Szymborska’s “Cat in an Empty Apartment”","authors":"K. Stadnik","doi":"10.1515/jls-2020-2015","DOIUrl":"https://doi.org/10.1515/jls-2020-2015","url":null,"abstract":"Abstract So far the cognitively-oriented study of literature has largely missed out on the cognitive conception of situatedness, which holds that human mental activity should be seen through the lens of its grounding in the physical, social and cultural milieu of the individual. Accordingly, the article shows the value of this approach in a Cognitive Linguistic analysis of Wisława Szymborska’s poem “Cat in an Empty Apartment”, setting out the ways in which situatedness underlies dynamic meaning construction in the production and reception of the work, giving rise to the singularity (Attridge 2004. The singularity of literature. London-New York: Routledge) of the poem. The paper concludes that situatedness can illuminate how the interplay of cognitive, linguistic, social and cultural factors might be brought to bear on the singularity of a literary work.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2020-2015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48104573","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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