{"title":"Marcello Giovanelli and Chloe Harrison: Cognitive Grammar in Stylistics: A practical guide","authors":"Jiang Xiaoqing","doi":"10.1515/JLS-2019-2010","DOIUrl":"https://doi.org/10.1515/JLS-2019-2010","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/JLS-2019-2010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48937595","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 With Joseph Brodsky’s poem “To Urania” as a case study, this article argues that a cognitive stylistic approach offers a new way into exploring literary representations of the experience of displacement. Drawing on the notion of the embodied mind in Conceptual Metaphor Theory, it presents a close reading of the poem’s portrayal of exile as a “felt” absence. The tension between the immediacy of embodied experience and what lies beyond its grasp is investigated with a particular consideration of enactivism and the dynamics of reading. Metaphor is seen as a tool for enacting vicarious experiences, but also as a means of conveying the difficulty of representing an experience of displacement. The analysis thus focuses on the poem’s strategies for negotiating the discrepancy between the past and the present. These include expressions viewing memory as a space, the juxtaposition of the personal and the generic, and projected movement.
{"title":"On the “body’s absence”: The embodied experience of exile in Joseph Brodsky’s “To Urania”","authors":"A. Holm","doi":"10.1515/JLS-2019-2006","DOIUrl":"https://doi.org/10.1515/JLS-2019-2006","url":null,"abstract":"Abstract With Joseph Brodsky’s poem “To Urania” as a case study, this article argues that a cognitive stylistic approach offers a new way into exploring literary representations of the experience of displacement. Drawing on the notion of the embodied mind in Conceptual Metaphor Theory, it presents a close reading of the poem’s portrayal of exile as a “felt” absence. The tension between the immediacy of embodied experience and what lies beyond its grasp is investigated with a particular consideration of enactivism and the dynamics of reading. Metaphor is seen as a tool for enacting vicarious experiences, but also as a means of conveying the difficulty of representing an experience of displacement. The analysis thus focuses on the poem’s strategies for negotiating the discrepancy between the past and the present. These include expressions viewing memory as a space, the juxtaposition of the personal and the generic, and projected movement.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/JLS-2019-2006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42497632","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 : 2019-03-26DOI: 10.1515/jls-2019-frontmatter1
{"title":"Frontmatter","authors":"","doi":"10.1515/jls-2019-frontmatter1","DOIUrl":"https://doi.org/10.1515/jls-2019-frontmatter1","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2019-frontmatter1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41634570","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 the role absurdist humour fulfils in the narrative structure of novels as well as its impact on the process of literary interpretation. Tracing the historical and philosophical roots of absurdist humour, the article emphasises the importance of the concept of incongruity. It then critically evaluates current and influential cognitive and linguistic theories of humour, specifically incongruity-resolution theories and their purported suitability for literary analysis. Drawing on schema-theory, the article examines a passage from Douglas Adams’s The Restaurant at the End of the Universe (1980; henceforth The Restaurant) and illustrates why literary humour cannot be analysed in the same manner as short, often specifically designed, joke texts as is common practice in most humour research. Subsequently, the traditional classification of absurdist humour as a type of humour where resolution cannot be achieved is also challenged as the analysis reveals how absurdist humour is part and parcel of the narrative structure of The Restaurant and how the incongruity is resolved at the moment of literary interpretation.
{"title":"Problem solved? Absurdist humour and incongruity-resolution","authors":"Olivier Couder","doi":"10.1515/JLS-2019-2005","DOIUrl":"https://doi.org/10.1515/JLS-2019-2005","url":null,"abstract":"Abstract This article explores the role absurdist humour fulfils in the narrative structure of novels as well as its impact on the process of literary interpretation. Tracing the historical and philosophical roots of absurdist humour, the article emphasises the importance of the concept of incongruity. It then critically evaluates current and influential cognitive and linguistic theories of humour, specifically incongruity-resolution theories and their purported suitability for literary analysis. Drawing on schema-theory, the article examines a passage from Douglas Adams’s The Restaurant at the End of the Universe (1980; henceforth The Restaurant) and illustrates why literary humour cannot be analysed in the same manner as short, often specifically designed, joke texts as is common practice in most humour research. Subsequently, the traditional classification of absurdist humour as a type of humour where resolution cannot be achieved is also challenged as the analysis reveals how absurdist humour is part and parcel of the narrative structure of The Restaurant and how the incongruity is resolved at the moment of literary interpretation.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/JLS-2019-2005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46988159","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 Cognitive Grammar has emerged in recent years to become an established analytical method in cognitive stylistics. Although one of its key affordances is that it provides a robust framework for analysing the different ways in which scenes can be depicted, researchers have yet to develop an account of how Cognitive Grammar can support a detailed analysis of authorial creativity. This paper aims to redress the balance by using Cognitive Grammar to examine the relationship between creativity and the unique situations that give rise to writing in a diary entry and two subsequent rewritings of that entry by the First World War poet and soldier Siegfried Sassoon. The paper combines ideas on contextual constraints with a text-driven, Cognitive Grammar-oriented analysis to demonstrate how a contextualized approach highlights the ways in which Sassoon’s writing is motivated by particular physical, social and cultural environments. These include the interaction with and reconfiguration of the material body within the physical setting of the military trench.
{"title":"Construing and reconstruing the horrors of the trench: Siegfried Sassoon, creativity and context","authors":"Marcello Giovanelli","doi":"10.1515/JLS-2019-2009","DOIUrl":"https://doi.org/10.1515/JLS-2019-2009","url":null,"abstract":"Abstract Cognitive Grammar has emerged in recent years to become an established analytical method in cognitive stylistics. Although one of its key affordances is that it provides a robust framework for analysing the different ways in which scenes can be depicted, researchers have yet to develop an account of how Cognitive Grammar can support a detailed analysis of authorial creativity. This paper aims to redress the balance by using Cognitive Grammar to examine the relationship between creativity and the unique situations that give rise to writing in a diary entry and two subsequent rewritings of that entry by the First World War poet and soldier Siegfried Sassoon. The paper combines ideas on contextual constraints with a text-driven, Cognitive Grammar-oriented analysis to demonstrate how a contextualized approach highlights the ways in which Sassoon’s writing is motivated by particular physical, social and cultural environments. These include the interaction with and reconfiguration of the material body within the physical setting of the military trench.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/JLS-2019-2009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46482707","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 : 2018-10-01DOI: 10.1515/jls-2018-frontmatter2
{"title":"Frontmatter","authors":"","doi":"10.1515/jls-2018-frontmatter2","DOIUrl":"https://doi.org/10.1515/jls-2018-frontmatter2","url":null,"abstract":"","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2018-frontmatter2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41464729","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 Our topic is an under-theorized type of closed simile in which the ground represents a non-salient feature of the source term (e.g., as quiet as a weight, as opposed to a standard simile, e.g., as heavy as a weight). The non-standard simile introduces a semantic difficulty, a result of the unexpected mismatch between ground and source. Since they are highly prevalent in poetic texts there is special interest in investigating the ways subjects attempt to comprehend such similes. To that end, we have asked 62 subjects to interpret pairs of similes distinguished only by the salience of the ground. We identify 5 response types and find that these are unevenly distributed across the two simile types (standard and non-standard). The structural difference between the two kinds of similes, therefore, evokes different interpretational strategies. Additionally, we find that the non-standard simile entails a hit-or-miss potentiality, creating conditions for either an insightful interpretation or a rejection of any possibility of its coherent comprehension.
{"title":"‘Simple as a fire’: Making sense of the non-standard poetic simile","authors":"Roi Tartakovsky, Yeshayahu Shen","doi":"10.1515/jls-2018-2002","DOIUrl":"https://doi.org/10.1515/jls-2018-2002","url":null,"abstract":"Abstract Our topic is an under-theorized type of closed simile in which the ground represents a non-salient feature of the source term (e.g., as quiet as a weight, as opposed to a standard simile, e.g., as heavy as a weight). The non-standard simile introduces a semantic difficulty, a result of the unexpected mismatch between ground and source. Since they are highly prevalent in poetic texts there is special interest in investigating the ways subjects attempt to comprehend such similes. To that end, we have asked 62 subjects to interpret pairs of similes distinguished only by the salience of the ground. We identify 5 response types and find that these are unevenly distributed across the two simile types (standard and non-standard). The structural difference between the two kinds of similes, therefore, evokes different interpretational strategies. Additionally, we find that the non-standard simile entails a hit-or-miss potentiality, creating conditions for either an insightful interpretation or a rejection of any possibility of its coherent comprehension.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2018-2002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41884365","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 The aim of this paper is to explore the predominant metaphorical conceptualization of sadness in three Old English elegiac monologues whose main themes are the pain and solitude of exile and separation. Taking as a starting point the Cognitive Theory of Metaphor and briefly reviewing the experimental evidence that supports the experiential grounding of our conceptualization of sadness, as well as our own previous research on the Old English expressions for emotional distress, we analyze the use of sadness metaphors in the elegies The Wanderer, The Seafarer and The Wife’s Lament. This analysis clearly shows that in the Old English period, as in present day English, sadness was largely expressed in metaphorical terms. Cold, darkness and physical discomfort were recurrent source domains in its depiction, which suggests a long-term trend in the metaphorical conceptualization of sadness, whose cognitive reality is empirically supported by experimental research.
{"title":"The metaphorical conceptualization of sadness in the Anglo-Saxon elegies","authors":"I. Verdaguer, Emilia Castaño","doi":"10.1515/jls-2018-2001","DOIUrl":"https://doi.org/10.1515/jls-2018-2001","url":null,"abstract":"Abstract The aim of this paper is to explore the predominant metaphorical conceptualization of sadness in three Old English elegiac monologues whose main themes are the pain and solitude of exile and separation. Taking as a starting point the Cognitive Theory of Metaphor and briefly reviewing the experimental evidence that supports the experiential grounding of our conceptualization of sadness, as well as our own previous research on the Old English expressions for emotional distress, we analyze the use of sadness metaphors in the elegies The Wanderer, The Seafarer and The Wife’s Lament. This analysis clearly shows that in the Old English period, as in present day English, sadness was largely expressed in metaphorical terms. Cold, darkness and physical discomfort were recurrent source domains in its depiction, which suggests a long-term trend in the metaphorical conceptualization of sadness, whose cognitive reality is empirically supported by experimental research.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2018-2001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49283558","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 Systemic Functional Grammar (SFG) is one of the most influential grammars used in stylistics, but more recently the discipline has witnessed a growing body of work using cognitive grammars to explain stylistic effects. This research has tended to make the positive case for cognitive grammar (CG) by demonstrating its similarity to functionalist approaches. However, it is also necessary to say how CG adds to an SFG account of literary effects. To do so, I return to Halliday’s seminal analysis of Golding’s novel, The Inheritors. I use CG to investigate the conceptual processes involved in the reader’s interpretation of the character’s deviant mindstyle and outline some of the ludic and dramatic effects of these reconstrual operations. Thus, whereas SFG focuses on describing the ideational structure of the representations proffered by texts, I argue that a unique affordance of CG is its focus on the readerly construction of meaning.
{"title":"From functional to cognitive grammar in stylistic analysis of Golding’s The Inheritors","authors":"Sam Browse","doi":"10.1515/jls-2018-2003","DOIUrl":"https://doi.org/10.1515/jls-2018-2003","url":null,"abstract":"Abstract Systemic Functional Grammar (SFG) is one of the most influential grammars used in stylistics, but more recently the discipline has witnessed a growing body of work using cognitive grammars to explain stylistic effects. This research has tended to make the positive case for cognitive grammar (CG) by demonstrating its similarity to functionalist approaches. However, it is also necessary to say how CG adds to an SFG account of literary effects. To do so, I return to Halliday’s seminal analysis of Golding’s novel, The Inheritors. I use CG to investigate the conceptual processes involved in the reader’s interpretation of the character’s deviant mindstyle and outline some of the ludic and dramatic effects of these reconstrual operations. Thus, whereas SFG focuses on describing the ideational structure of the representations proffered by texts, I argue that a unique affordance of CG is its focus on the readerly construction of meaning.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2018-2003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49448457","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 Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true.
{"title":"Propositions in theatre: Theatrical utterances as events","authors":"Michael Y. Bennett","doi":"10.1515/jls-2018-2004","DOIUrl":"https://doi.org/10.1515/jls-2018-2004","url":null,"abstract":"Abstract Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true.","PeriodicalId":42874,"journal":{"name":"JOURNAL OF LITERARY SEMANTICS","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jls-2018-2004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45568025","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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